Lifted Between: Worn and Remembered

This body of work examines pressure as both a material force and a lived condition. Through printmaking on fabric, hanji, and aluminum, the works explore how personal memory, military history, and cultural inheritance are carried in layers that must be lifted, touched, and felt to be understood. The installation unfolds vertically, with hanging textiles that overlap and shift, encouraging viewers to look beneath and between surfaces rather than remain at a distance.

Images referencing Korean hanbok, military uniforms, and undergarments emerge through blind embossing, aluminum pressure prints, and transfer processes. These garments function as sites of discipline, protection, and concealment, holding the body in tension between visibility and privacy. The printed imagery often appears softened or partially obscured, echoing the instability of memory and the blurred boundary between what is remembered and what is repressed.

Text is embedded throughout the works, stitched and embroidered directly into fabric as fragments of personal encounters and recollections. These textual elements operate as quiet interruptions, moments where memory surfaces materially rather than narratively. Sound and light interact subtly with the surfaces, activating moments of reflection and partial revelation. As viewers speak, move, and shift their position, aluminum surfaces catch light, while woven elements respond in ways that reveal and hide imagery without fully resolving it.

The installation invites physical engagement. Viewers are encouraged to lift fabric, feel the weight and resistance of layered materials, and sense embossed surfaces through touch. This tactile encounter reinforces the idea that meaning resides beneath what is immediately visible, and that understanding emerges through care, proximity, and attention. Between what is worn and what is remembered, the work insists on slowness, touch, and the act of lifting as ways of accessing what lies underneath.