EN / KR
Autumn Painting
2026 | 78 min | Color | Sound | 16mm, Digital | 16:9
On an autumn day in Paris, the camera takes a painter’s point of view and becomes a brush depicting and painting lights, colors, and motions. Sunlight in a yellow hue, orange-tinted leaves, elongated shadows, and the traces of the wind over water layer upon one another to compose a picture; thirty pictures make up one day.
Painter's Note
It was a day in October when I was strolling around the riverside in Paris, only to become completely mesmerized by the exquisite beauty of reflected light on water, which I stood staring at for quite some time. The fragments of light seemed like musical notes dancing over the waves. I picked up my camera to translate those melodies into images as if the camera were a pencil. As my observation and affection for “drawing” deepened, the distance between my subject and myself began to blur. In the end, I was left with colors, shapes, and a genuine sensation of visual movement.
Even though I was looking at the same scenery, I had different glimpses from its components as my viewpoints and time changed. Wanting to follow the impressions of the autumn season, I used vivid colors for those ever-shifting shapes, and I kept the lens either multifocused or entirely out of focus. Where the eyes travel or rest is left to the viewer, not to me who painted the picture.
Outside the ships and trains, I stay as an outsider looking at the parks, alleys, and riversides where tourists and city dwellers are interwoven. Those landscapes convey a sense of peacefulness and ease, affection and solitude, and loneliness and sublimity, layered together. In this work, the camera is no longer a tool for documentation but works like a hand that traces sensations and perceptions. Autumn Painting questions the act of looking and the ways in which eyes perceive the world around us.
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