People want to make their own world because they want to understand the world they are living in. I think the only way to construct a world without intervening in it is to make my own work. For a person like me, who cannot maintain the grave weight of ethics that follows the action of participating in constructing 'this real existing world,' a minimal intervention / non-intervention through my work is the only way to prove the existence of myself. Because I can't be a homeless or an addict.

I usually do two-dimensional work. A frame exists. Whether it's three-dimensional or two-dimensional, because this frame is a certain moment, it becomes a frame. In other words, I look at a certain dot in time, instead of a two-dimensional space, as a frame. Since I'm composed three-dimensionally as well as the world is, the space I sense is two-dimensional. Therefore, regardless of whether it's spatially two-dimensional or three-dimensional, to me it feels like one dimension of time. And from that one dot in time - a dimension from time- numerous frames of time unravels. Appreciation of a work refers to this process.

I usually ignore the conventional history of art, especially the history of art after the modern period. Because it is excessively 'the history of art.' We are living without having constructed 'history' itself since the modern era. It's too much for us to be concerned with contemporary problems that we face - in other words, it's enough for us to look at it outside of the history that becomes constructed, and to re-compose the act of looking itself within one frame. No, we're not overloaded. We are doing almost absolutely nothing.

Inside me, there is often a clash between an ethical consciousness towards society as a living person and an 'eye of eternity' that looks at what is normally called 'life.' An eye that feels the beauty of being alive and an eye that looks at the cruelty of this world is juxtaposed and divided. Perhaps my work is a clumsy record of such fission.

As I set out to make a portfolio, I realize that I have very few material. I was very lazy at collecting the records because my self-consciousness about gathering and recoding information. Although I didn't think that managing the sources was an unnecessary work, I always doubted whether I am an artist and whether this world really needed an artist. Now that I look back, it was sort of a showing-off, but the result of it was the loss of the entire work for my first and second solo exhibition, the loss of most of photographic records, the destruction of the work and photographic records of the work I submitted for a directed exhibition, and such a poor portfolio as it exists in the present. 'Crime and Punishment,' so to speak. Self-consciousness belongs to a young man, and I am not a young man. I feel sorry for such an unreliable material for those who will be looking at this. But even if all the materials existed at present, I would have felt the same way.