The path of circulation and growth

It was an ordinary day 4 years ago, when I felt the sudden urge to climb Jiri Mountain with my 11 year-old daughter. I wanted to escape from everyday life and sweat for the same aim with her, stand on the massive mountain ridge with endless sea of cloud spread in front of my eyes. I wished to load the bicycle onto the car, camp and make bonfire in the snowy mountain with my child, and together gaze upon the night sky dotted with countless stars. It was the beginning of the second work of 'Twins' series. A new journey for the project had begun by putting behind the desire and perpetual everyday life projected through the child's room and moving into the vast Mother Nature full of beautiful landscapes and fresh air. The natural settings 'Twins' visit are colored with the memories and aspirations of my 20s. The 'Twins' project chases after those young recollections and moments of relief. Back then, nature was a big and overwhelming being. The scent of forest alone would console me. Reminiscing such nature, families who modeled for 'Twins' set off to beach with setting sun, foliage colored forest and early morning mountain top with their sons and daughters and never alone.

The shooting I had by the Daechon beach comes to mind, where the wind was so strong that camera trembled and the lightings spun around. Despite the heavy wind and coldness, the beach at sundown was truly beautiful. I asked the father and the son standing with their backs to the sun to strongly stare into the camera. From the two wearing the same clothes and looking in the same direction, I had hoped to see beautiful and proud looks on them, just like that scenery of beach at sunset. It was also an aspiration and desire as an artist to confirm the memories and romance of the youth not only remain in the past but are witnessed once again in the sceneries and characters set in front of me right now.

Having roamed in the mountains, the seas, the farms, 'Twins' has finished its long journey of 6 years and now returns home. My desires are still piled up high in the livingroom, the child's room, and on top of my desk, and another day will begin with busy strolling and sounds loud and small as it always has been. Yet when my eyes reach the sky beyond the window, I will remember the beautiful sunset scenery, gestures of those standing in front of the camera in same clothes, and the wind that pushed the body around.

So I have returned to my daily life. The young person of 20s climbing Jiri Mountain with a big backpack has now become a woman in her 40s. Last winter, my father who provided the motives for 'The House of Woman' has passed away, and my daughter Jayun entered middle school. Sunset beach and fall-colored forest are still the same, but the presence and desire of me and my family will repeat to be conceived, grown and perished. The 'Twins' series reflects on the place my family and I stand in such path of circulation and growth.

I recall many thankful names that accompanied me during the lengthy journey from 2005 through 2010 starting from the first 'Twins' image that talked of maternal desire projected on a child's room with a middle class family living in bed town near Seoul posing as models. Shin Byeongtae, Jang Yeongsu, Park Hongsoon, Kim Dongwook, Kang Jaegu, Kim Kyongyeol, Wang Kyujeong, Lee Seonjung, Lee Sunghyeon, Lim Nakgwon, Jeong Cheol, Hwang Hoseok, Lee Hyeonsuk, Kim Sumi, Kim Yeongmi and all the families who willingly answered to novice passion of the artist. Most of all I send my warm heart to Jayun, Seongwoo, and Choi Ingu who endured the absence of their mother and wife, and thank the Lord for opening up this entire path for me.