We tend to focus on what is clearly visible to the eyes. However, this exists because there is a surrounding context, and the more we perceive this surrounding, the clearer it becomes. Our world breathes and persists due to the interactions of countless invisible elements that make up the surroundings. This includes plants, microorganisms, and even gas particles, things we often overlook. Currently, our society is filled with stimuli that excessively stimulate the senses. As a result, people easily become fatigued by stimuli and are swayed by various emotions. They seek stronger stimuli, and if these are not fulfilled, they easily fall into a state of depression. This phenomenon is not beneficial to individuals and similarly affects groups. Therefore, we need to focus on the subtle and delicate aspects and develop a vision that looks further. Such a perspective can be found in the East Asian appreciation of ‘sansuhwa’(Asian landscape painting).

One of the key methods of appreciating ‘sansuhwa’ is to observe from a distance and feel the space. The components of ‘sansuhwa’ can be broadly categorized into 'heo' (emptiness) and 'sil' (substance). 'Sil' refers to objective observation, and all objects except empty space fall into this category. These definite objects possess a nature of emitting strong energy. On the other hand, 'heo' appears outwardly as empty space, but its essence is a space of reception that accepts the emission of energy. Moreover, it absorbs the emitted energy inwardly and gradually emanates it outward. These two elements coexist to create a space of infinite life, forming a void of infinite space through the organic contrast between 'heo' and 'sil'. In East Asian art, recognizing empty space, or the invisible surroundings, is an important process.

I staged a performance to convey this concept. To convey simplicity, I used elements that are closely related to daily life, and it took place in a gym, one of the most active spaces in everyday life. I placed water and a fog generator inside a black plastic bag, a common item, and used the movement of deadlifts, commonly done in gyms, to convey the motion. I began the deadlift holding the black bag containing water and fog. What is noteworthy here is not my movement but rather sensing the energy I am generating. This energy is easily discernible through breathing. When inhaling, only the sound of water emanating from the plastic bag remains in the space. Then, as I bend my waist and exhale, fog from within the plastic bag diffuses into the space.

Through these movements, I emitted perceptible energy, conveying the idea that the space surrounding me was a receptive environment. Both sound and fog swiftly permeate the space upon emission, requiring continuous awareness of the space to truly sense their essence. I repeated this process to make the audience aware of the surrounding space, emphasizing the presence of emptiness.