Drawing | Installation | Public Art | Essay | Resume
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¡°In Rivers, the water that you touch is the last of what has passed and the first of
that which comes; so with present time.¡±
-Leonardo Da Vinci

Lifting, turning, crossing, swinging, swaying, stretching, sliding, bending, tugging,
pulling, pushing,
and rotating. Like a carefully choreographed dance, the on-siteinstallation process engages
in the repetition of fluid movements. Amidst the constant repetition of synchronized motions,
individual bodies and minds are coalescing, ever in sync with an organic rhythm, becoming one
with the undulating lines, and ultimately growing into the gestures themselves. This is the moment
of consciousness. The end of this meditative performance is now the beginning, the birth of the
sculpture ? one hundred and thirty four strands joining into the Rivers.

Cascading down from the ceiling, the long lustrous lines are sweeping across the glass pavilion,
swirling, scooping, and squeezing tightly around the two colossal columns. The physical tension
intensifies and the force of inertia exudes the unfathomable primal fear. Seemingly smooth current is
slowly building up to a crescendo, a fearless dance of escape. Directly facing the Rodin¡¯s Gates of Hell,
an unfaltering solid vision of Inferno, the Rivers unveils the vulnerability and resilience of
the human soul. Flooding the cool hard-edged glass and steel atrium with the golden rays of
divine light, the force of apparition lifts and grabs the mortal bodies of lost souls on the verge
of falling into the underworld and attempts to pull them out of the Gates of Hell
for possible redemption.

Jinnie Seo