Imagine the heaviness of an archive before stepping into the exhibition space. Chasing after images that capture historic moments, have those vanishing in the era of high resolution become lighter as the amount of time that has passed? Or are they becoming heavier as time keeps moving forward?

Then what about the heaviness of a wall? A wall is not only a major vertical element in architecture but also a metaphor for limitations, challenges, ruptured relationships or interactions. Yet, human beings started to draw on these walls that stand right before us, both physically and psychologically. Such wall paintings tell us stories of various countries and civilisations across different eras, from the Palaeolithic era to modern times. Starting as cave paintings, wall paintings have now evolved into many different forms such as wallpaper and graffiti and continue to show their presence on anything that can be a wall. Images on walls have been projecting, representing and documenting personal or social issues and interests of the time, serving as a platform for expression and communication. Walls project the history of the era as they grow into spatial archives that spark changes.

The artist engages with history through colonial architecture. She focuses on the mobility of plants and the relationship between plants and architecture that share land as a common ground. Botanical relief on architecture and colonial botany are major sources of inspiration for her artistic practice. She starts by collecting archival images, then translates them into a variety of artistic mediums such as knitting, weaving, knotting, risograph printing, collage and installation to create a tangible history while filling in the unwritten pages of history. Wand, Route, Root and - the exhibition presented at Jungganjijeom Ⅱ will continue on a paper space in the form of a book, compiling traces from her artistic journey throughout Wand, Route, Root and. (Bokyung Kim)