2020 Changwon
Sculpture
Biennale

Floating tree

SON moved drift logs washed up on the shore to the exhibition space and hung them with rubber bands, in an attempt to recall our memories of being drifted. Why did she bring in the logs, which had been drifting in the nomadic space of the sea, and let them drift again in the space of art? It’s because she projected her sympathy towards these found objects. The rubber bands suspend the huge logs in the air by climbing up, down, and across the walls and ceiling and by creating tensions. Made of rubber, the bands are supposed to be soft and elastic, but the resulting tensions make them look like robust wires. The viewer’s psychological consciousness projected onto the objects guides the drift logs, which are taking a rest after an exhausting journey, into the new world of senses. The logs hang from the high ceiling of the Seongsan Art Hall. We gaze at the flexible wall the artist built with rubber bands in the form of a line drawing. Then, we realize that the space built inside another space is a space of emptiness, not that of filling, just like non-sculpture, the theme of this year’s Biennale. The flexible wall of multiple rubber bands always allows room for cracks.