Endless Enumeration in the Space: Fiction of Fabricated Image and Nature’s End Bahk Seonghi Arts has become more difficult year by year. The more years have passed doing my arts, the more arts gets difficult. The reason is that the nature of arts is a way directed to essence. My recent work has highlighted the stories about the relationship between culture and nature. Culture is the civilized world where human beings seek convenience, whereas nature is the state naturalized by a dispensation of the universe that is far from man’s strength. It is the relationship between man and nature that naturally derives from the relation of culture and nature. The relationship between man and nature have been expressed aggressively in my work. To represent culture, architecture culture in which man dwells and acts, is chosen, and to represent nature, charcoal, the last appearance of trees that stand with us in the world, is chosen. Why? It is a self-evident truth that I can think of a great number of meaning and forms because of architecture structures being depended upon usefulness and charcoal being one of last appearances of nature. I think it is wrong if man in western materialized culture draws every center of the world including the whole dispensation of the universe to mankind. I think that man is no more a different object than a tree that exists in nature, so that it is inevitable that man should co-exist with nature without tilting his balance into either ways in the relationship of man and nature. How do you see nature, concealed behind a history of splendid civilization which has been built by contemporary mankind? On this premise, the form of this work has rooted. Strongly presented structures are the strings of nylon that are very subtle, light and nearly transparent. In the space, the nylon enumerates logically lumps of charcoal being energy in nature that symbolize vanishment into air. This structure expresses the fiction of fabricated image as a concept against usefulness man uses. To me, charcoal reveals a field of nature, concealing, deeply down from charcoal’s surface, the fact that charcoal is residuum after a tree burned in natural or geological combustion . Eventually, charcoal is material in my existence conditions, and out of this material does the derived effects complied with the presented forms start. In the end, charcoal becomes brick that makes a building. As time passes, that is manifested in my work has been transformed, in the sense of sight, into simple and light material. Hanging is a poetic expression! that penetrates inherent environment and architecture, and irresistible lightness of a piece.