ZeftLand #7

I was obsessed with the material while also feeling discontented with it, like someone who has fallen into a tar pit, without escape. This led to further research into its visual aesthetics. Now able to control it, I could express myself in a way I was unable to in the past. I was compelled towards abstraction again—the material was powerful enough. The Sea of Memories (2017) was the true beginning of ZeftLand when I shifted from the human to the earth, from the face to the landscape.
In ZeftLand I wanted to discover how to transform the character of the sacred space to that of zeft. I minimized the distance between the subject and the concept to focus on the continuous destruction of this land. And it was the land that pointed me towards using a living material, like tree branches, twigs, and dry flower petals.
These works are thus conceptual approaches to the scale of destruction, fire, and pain. I have been confronted by the sacred and the cursed, both on earth and in the work of art. I have found myself asking—is there any difference?