Sculpture resembling a mineral cross-section, cast in translucent resin over dark stone, with a glowing green line embedded inside, on wood floor

Antinomy

SaltMuseum, South Korea — 2024

A cross-disciplinary project consisting of two parts. Mixed-media, Video Essay. Series of sculptures. Based on the book “Plutonium in Maiden Hands” by Sokhina L. P.

The colonization of Korea between 1910 and 1945 left scars in the collective memory of the Korean people, shaping the development of South Korea as a state and its relations with Japan to this day.

In 1945, the United States dropped atomic bombs on Hiroshima and Nagasaki, killing approximately 200,000 people and hastening the collapse of the Japanese Empire. Korea was liberated from colonial rule the same year.

The bombings introduced a new kind of fear into the world: the fear of total annihilation. This fear has never disappeared. It remains a political instrument to this day.

During the Cold War, the Soviet Union established a number of secret cities to develop uranium. Large numbers of women were recruited to process uranium for weapons. Ignorance of nuclear physics and tight deadlines led to their exploitation, illness, and death. The artist was born and raised in one of these towns.

Gallery installation view: a lit glass display case on a rusted pedestal at left, a wall projection of a hand holding a glowing green resin sculpture, and a metal excavator bucket lit with blue light at right
Weathered yellow excavator bucket with hydraulic hoses against a white wall and a dark angled panel, thin blue light strip visible inside the bucket
Macro view of rusted metal excavator tracks in dim light, with a small green flowering weed growing between them
Side view of a rusted yellow excavator bucket with coiled hydraulic hoses and a thin glowing turquoise light strip inside, on a wood floor against black background
Glass display case on a dark rusted pedestal against a blue-lit concrete wall, containing an elongated pale object laid in sand
Wide gallery view with a wall projection of an elevated highway and city buildings, a lit glass case at left, and a dark sculpture against a white wall at right
Glass display case lit from within, containing a metallic elongated object resting on sand with rocks, in a dark room
Wide dark gallery view with the word Antinomy projected on a rear wall, a lit glass case at left, and an excavator bucket sculpture lit at right