5days in May
DV6mm & film/Color/3m/Sound/2007
I experimented the image of border between film and digital. 5days in May, I was inspired by dying peony blossom. A dying peony in border between life and death was more captivating than a blossoming flower. I used the superimpose technique to express the border between life and death, love and loss. When a shadow of extinction and a color of life stay and go, their movement sometimes rendezvous. By superimpose technique, the unaccomplished desire makes it more mournful to see a flower fall. Dark colored death in digital image and red colored life in film image, they go back and forth in time they busily leave traces but nobody can stipulate what is being left right at the moment. The peony blossom had gone like that into the bustling movement.
This fall,
I was charmed by whisper scent
of a dried chrysanthemum.
The whisper scent of dying peony blossom was much more captivating
than the deep lively scents of flowers in full bloom.
It's just like peony of Yung-nang
The peony which means spring and a year to Yung-nang.
The scent scentless peonies left is
trace of ripples made by shadow of death and track of life.
While the shadows of extinction and the colors of life come and go,
they at times encounter each other which makes the moments more regretful as their desire for being together will never be accomplished.
So it mourns all year long.
The death distinctive yet dark and
the life faint yet red leave traces
moving back and forth of time.
However it is obscure and always will be
what it is that is left.
In the middle of the busy movements,
my peony in the vase has vanished
just like that.
Sometime has passed since,
and at one moment absent peony put everything together
to make an integrated image
which has gone in a flash,
leaving spring of dazzling sorrow...
올해 가을,
나는 마르는 국화에서 맡는
은은한 향기의 매력을 알았다.
살아있는 진한 향기가 아닌
죽음에 닿아가는 그 순간의 매혹은
곱고 화려하게 피어있는 꽃보다
더 강한 이끌림을 던진다.
그런 매력은 영랑의 모란과 닮았다.
영랑에게 모란은 봄이고, 한 해다.
향기없는 꽃 모란이
떠나며 남기는 향기는
죽음의 그림자와 삶의 잔상이 오가며
남기는 물결의 흔적이다.
소멸의 그림자와 삶의 색깔이 남기고 지워지는
그 순간에도 그들의 움직임은 때로 교집합을 이루고
욕망의 순간에 닿을 듯 말 듯한 아쉬움은
꽃이 지는 순간을 더욱 애절하게 만든다.
그러므로 삼백 예순 날 하냥 섭섭해 우는 것이다.
선이 분명하지만 어두운 색의 죽음과
선이 희미하지만 붉은 색의 삶은
시간을 앞서거니 뒷서거니 하면서
바쁘게 움직이며 흔적을 남기지만
무엇이 지금 남겨지는 것인지
끝끝내 규정지을 수가 없다.
분주한 움직임 속에
꽃병 속의 나의 모란은 그렇게 사라졌다.
이윽고 모란이 부재하는
순간
마지막 하나로 합쳐진 영상은
쏜살같이 사라져버렸다.
찬란한 슬픔의 봄을 남기며...