From the beginning, I have created on the premise of absence.
This means refusing to accept any pre-given values and systems unconditionally.
It is not negation for the sake of negation.
It is merely an initial condition to secure operational freedom of thought and perception.

Creation is neither an act of addition nor subtraction.
It is a continuous process of retaining, removing, recombining, and reconnecting.

What I have practiced is collection and arrangement, appropriation and reconnection.
Traces of different times, cultures, and bodies are not absorbed into a unified system,
but are allowed to coexist while preserving interference and tension.

This is a bricolage-based operation,
unfolding in a rhizomatic manner.
Bricolage is not improvisation.
It is a rigorous method that treats existing fragments as reusable materials.

I do not fix a method.
To drift is not emotional wandering,
but an operation of suspending judgment.

Lineages, schools, and genres are referenced, but never inhabited.

I work with space, time, body, sound, silence, arrangement, and density.
Each time, I plan conditions
where these elements act simultaneously within the same field.

I do not presuppose narrative.
At the same time, I do not exclude it.
Narrative is a material, not a governing principle of structure.

What emerges first are bodily configurations, spatial relations, and movements of time.

I do not assume bodies specialized in particular styles or techniques.
I have chosen, as a method,
not to divide dance, movement, language, and voice,
and not to fragment the body into parts.

I do not reduce the body to a sign.
I concretely employ the effects produced in space
by bodies that are trained, culturally inscribed, and fatigued.

I do not establish a center.
Nor do I adopt disorder.
I deliberately construct structures in which multiple focal points coexist.

The notion of completion is relativized.
When generation stops, the work dies.

I do not place language at the center.
At the same time, I do not exclude it.
Meaning is not eliminated.
But neither does it precede.

Language is arranged like body and space,
and generates meaning through its operation.

I do not make absolute my own method.
A method turned into a codified formula is effective,
yet always carries the risk of fixation.

The moment a method begins to circulate as a reproducible form,
it reverses into a framework that halts renewal.
I remain vigilant toward this reversal,
treating the method as an object to update.

The ODYSSEY CREATIVE CENTER (OCC)
is not a site for outcome-oriented exhibitions.
It is an environment designed to generate and test methods,
and to create conditions in which fixation cannot take hold.
Education too, is nothing more than one form of such condition-making.

I am not attempting to communicate something through art.
What I am doing is
the work of irreversibly updating the conditions under which perception changes.

The same conditions will never occur again.
I stand at the point of “absence,”
and continue to update.