I focus more on the flow felt by the movements of the observed subject rather than the original forms or the location of the subject. The empathy gets more profound when I confront a landscape that is on verge of life and death, barely allowing itself to bloom and fall off. Even the quiet grazing sounds, small movements of the landscape make me to want to listen more of the feeling of the landscape, and I start to long for the place even though I stand in the middle of it. The feeling gets closer to the feeling of minor than that of major. When you follow a pattern of the flow of the observed subject, you confront a landscape where the state of compliance and the state of desperate striving all get intermingled and tumble about. It is like the shaking of a whole body on the brink of the termination of a life, and it allows one to feel the lingering resonance. It is like the landscape of a late autumn encountered just before the coming of a cold winter and also before the termination of life. The reason why I cannot take my eyes off of a landscape where the grasses and the rest of living things are yet to go asleep is probably because the realities to which I have intuitive perception of are ‘the moments when the most desperate situation in life is looked upon as wondrous.’
2014. 한진 Han Jin.
