In 2008, I created this work while staying at Chunjangdae Beach. Every night, I went out to the lonesome sea near my house. I wanted to preserve memories from that particular day as a performance. I wandered around in search of my ego and conducting a series of performances that appear to be meaningless.
The sea, my home, is reminiscent of my mother’s bosom and womb. Tiring life awakens an instinct to return to my birth place. I roamed around in search of a junction at which the sea and my ego encounter one another, conducting a set of repeated performances: wrapping myself in an umbilical cord, walking, laying down, and so on. I presented myself as a premature being prior to developing into full human form in front of the sea where life is conceived and effaced.
At the completion of the 21 Grams Series, I wanted to let go of the skeleton shape, mourning for it through a performance. In front of the sea where a cycle of creation and extinction repeats, I (my ego) mourned for the skeleton by means of performing ceremonies – circling around, embracing, and leaving it – in a hope that the skeleton may be reborn as a flower.
I revealed my endless will to live as an artist by exposing myself drawing and erasing something again and again beyond space and time. I wanted to find my ego and to experience optimistic feelings through artistic activities such as drawing pictures on the stairs, on the rooftop, and opening a door in a dark place to represent the moment of encountering a bright world.