Feelings can be thought about it but not can be explained. Even if they can be explained in words, there is no guarantee that such explanations would mean something, and even if they did mean something, not everyone would feel the same. In addition, some happenings may be explained, but many of it cannot be shown in reality. Even if they can be happened, not everyone could feel them. And even though some people may feel them, not everyone could enjoy them.
The only way to explain perceived though faint feelings is through efforts to reach the most approachable state while arranging unclear, ambiguous descriptive regardless of one’s logical intentions. Thus, when we state that we share feelings, it already connotes incongruity. This is because feelings are quite subjective, and the feelings that we sense cannot be fully grasped. However, we certainly believe in the essence of feelings. Indeed, we must. As feelings are the starting point of all of our small actions, the incidents that we face at our daily creative sites, and are the most trustworthy channel connecting you and me, such ambiguous feelings should be dealt with as seriously as (we would deal with) the history of art.

Thus, we temporarily set aside the problem of reproductions or the stereotype of transparent meanings, but we concentrate on this moment in order to seize the essence floating in metaphorical conversations and ambiguous, incomplete reasoning.
How much are we different; how much are we the same?
We carefully measure the distance between ourselves and our neighbors and measure the depth of inhalation and exhalation as we grope around our circumference, waddle sideways. The principles of formativeness such as harmony, balance, and tension are like a journey in search of a passage of feelings that would connect you and me beyond the problem of a simple arrangement. This is to explore close relationships that would form a sense of neighborliness and to accept the possibility of an open ending.

* The Korean title of the exhibition has been adopted from the title of a book of essays written by Shin Hyoungcheol (Literary critique) and published by Munhakdongne with the author's permission.

**image (left)
Hee Seung Chung
'Untitled' from Inadequate metaphors, 2013
courtesy of the aritst