“...Perhaps we never truly know—at the very moment the pen touches the page, whether writing guides us toward remembering, or toward forgetting.”—From a notebook, written N years ago
Diverging Scenarios: On Forgetting and Inscription unfolds around contradictions observed in everyday life, and the subtle thresholds where they arise. The structure, like the colon in its title, positions two sides in dialogue—each supplementing and reshaping the other.
“Diverging Scenarios” references Borges’ The Garden of Forking Paths, a labyrinth endlessly generating yet never reaching its end, extending into the unstable structures of our present cities, daily rhythms, and the order of things. “Forgetting and Inscription,” meanwhile, seeks to extract another possibility from the entanglement of two seemingly opposed actions: writing as both a means of preservation, and the very mechanism through which forgetting begins.
Diverging Scenarios｜2025｜Video｜34’07’’
Diverging Scenarios is a video installation that begins with a composition reminiscent of a curtain call: two people, using their left and right hands, jointly perform as if they were a single body, carrying out the acts of untying and tying knots. Their hands continually shift between collaboration and misalignment, embodying a state that oscillates between fusion and division.
The sound component features Bach’s Goldberg Variations, a composition that requires the performer to navigate hand-crossings and substitutions, simulating moments of division or cooperation. This creates a sonic extension of contradiction and deferral, echoing the visual gestures.
Through the interplay of sight and sound, the work probes the boundaries of the body and the splitting of subjectivity: the hands attempt to merge yet persistently reveal their differences; the music unfolds in unison while simultaneously affirming division. The installation places the viewer within an unstable condition, where “divergence” becomes not only a metaphor within the content but also a mode of perception and experience.
Chapter II: Bright Room, 2025(re-edition), wood board, LED candle lights, acrylic, smoke machine, 90 × 510 × 250cm
Chapter II: Bright Room takes a candle-like lamp as its central image. Its flickering flame casts no warmth, angled across a space as transparent as a display window. The light repeats, sways, and seems to simulate an eternal prayer. The lamp is at once a symbol of faith and a flawed imitation, wavering on the boundary between the sacred and the fractured. What it offers is not comfort, but a detached gaze—summoning the viewer to oscillate between illusion and reality.
On Forgetting and Inscription, 2025, paper, postcards, plastic film, wood, plaster, acrylic, 360 × 330x110cm
This work examines writing as a vessel of memory, while exposing its instability and contradiction. It assembles texts from diverse sources: notes written by a family member in the early stages of Alzheimer’s, excerpts from books on the symptoms of forgetting, and online instructions for memory training. Each phrase is cut out with a blade, turning erasure into a form of bodily rewriting. These voids generate shadows, which in turn open another space of reading—where remembering and forgetting overlap and diverge.
The installation unfolds in two layers. On the surface, altered papers and postcards are presented as reconstructed fragments. Beneath them, a table built from mismatched legs of different origins suggests the fragile, provisional scaffolding of memory. This unstable structure is both support and reminder: memory is never fixed, but continuously fractured and reassembled, materially inscribed through absence as much as through presence.
Realistic Landscape II｜2025｜Stone｜15 × 21 × 8 cm
Realistic Landscape II takes the stone as its subject, yet not as a simple reproduction. The carved surface and claw-like traces compress layers of time and force, revealing both the trajectory of material formation and its potential to dissolve into nothingness in an instant. It oscillates between “being” and “failing to become,” making the stone a point of inquiry into how becoming is possible. The viewer sees not only the stone itself, but is also drawn toward a reflection on processes of formation and existence.
Realistic Landscape I（detail）