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CIRCA:
When did you first discover Mongyudowondo, and why was it pertinent to you?

SOJUNG JUN:
It's been a long time since I've known about Mongyudowondo. It’s a well-known painting in Korea, especially for those who studied art. Currently, Mongyudowondo is in the collection of a university in Japan and cannot be seen in Korea. A few years ago, my interest in multi- perspectives led me to find this painting again, and I was mesmerised by it, in which the story of a dream was mixed with the real and the ideal.

In an exhibition at Atelier Hermès last year, I worked through the poems by Yi Sang, a Korean poet in the 1930s during the Japanese colonial period, and experimented with rethinking the present through the past as a spectrum. Attempts to shift the temporal axis or diversify the viewpoints allowed me to discover the possibility of an anti-perspectival thinking beyond the dichotomous paradigm of modernity.