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Distance
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2015
Video installation
Ultra-short throw projection, two-channel surround sound
Distance is an installation that focuses purely on image-space—or more precisely, on the residual spatial experience left behind when the viewer's position is deliberately vacated. Two projections face each other: on one side, an endless sea; on the other, a silent woman standing barefoot on the beach, dressed in blue. She does not speak, nor move, her gaze fixed. The waves rise and fall, the tide’s sound accumulates slowly. The viewer is caught in between, as if stumbling into an unfinished sentence composed of letters rather than words. In this work, to watch is no longer an act of facing the image, but of being seized by it. There is no stable vantage point: when you face the woman, you are the one being watched; when you turn to the ocean, you lose your body.



The horizon is not a line to be measured, but the shape of a visual limit—an “unreachable” within the image-space. It is also the foundation upon which linear perspective grants the viewer a central position. The artist quietly removes this position, pulling the gaze away from its vertical anchoring, so that vision cannot stabilize itself, and the subject cannot find placement.



In losing a viewing position, the subject also loses the direction of projection. The image no longer invites interpretation. It does not wish to “speak” but rather to allow language to fall silent. The woman’s gaze does not ask for understanding—it simply exists, irreducible to meaning. She is there, in front of you, sharing the same space, yet unreachable. Like the Other—neither near nor far—just as waves moisten you as they reach, only to retreat again.



Here, sound is not merely background but an extended internal space. The low frequency of the tide seems to resonate within the body's own chambers, awakening memories already embedded in flesh. This inner heterogeneity of sensation allows the viewer to become aware of intersubjective relations. Image and sound no longer explain each other, but restrain one another, composing a suspended perceptual field.



The “distance” in this work is not one of physical measurement, but of reverberation—something that resists translation into intimacy or estrangement. It exists between us and others, prior to language, beyond the reach of understanding. Not because it is too far, or too unfamiliar, but because it is too close—so close that it nearly becomes indistinguishable from the self, making comprehension itself impossible. In this kind of distance, we cease to insist on grasping, and instead accept that every gaze is directed toward the Other, never truly arriving at ourselves.
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