Shape of a historian, 2018

In the corner of the studio, there are three objects. The first is a sound machine fastened to the wall. It is made out of wood, acrylic sheet and a simple motor that lifts the acrylic sheet up and down. Attached to the acrylic sheet is a small round pickup. The sound is then transmitted to a speaker located in the second object. This object is a papermaking station made out of a plastic drop cloth clamped around a wood frame. The frame is supported by  8 c-clamps that function as table legs. The cloth supports water mixed with pulp for papermaking, which is stretched by its weight. On top of the pulp-mixed water, a wooden frame float for thinly scooping out the pulp to make paper. The speaker is face-down on one end of the table, submerged by the water that will be used to make the paper. The third object is made out of layers of dried paper still attached to the muslin that the pulp was laid on. It is stacked against the wall.

A sound occurs. It seems to come from the thin acrylic sheet on the wall, but this sound is actually coming from the speaker that is submerged in the water. The sound produces ripples that are like wavelengths on the surface of the water. The artist induces viewers to react poetically by offering the sense of hearing and visions, which could be synesthesia. It allows viewers to use poetic thought to actively stimulate their imagination in search of the origins of a metaphorically reproduced object. However, it is not a perfect reappearance to think of something in this ephemeral space where the object of reappearance has been intentionally deleted, so repetitive imagination continues.


This work, from the individual memory of the artist, through the practical act of recalling it, is a formative interpretation of the process of memory progression, the search for ways to record the memory being forgotten, and the result of the search for the process of memory disappearing.