Dust in the Wind unfolds two distinct tactile systems, suspended between emergence and dispersal.

Gwangsoo Park’s paintings disassemble and reconfigure form through a movement of rupture and accumulation, exposing life as a process of continual unmaking and remaking. Dong Hyuk Lee’s works suspend isolated figures and relics within still fields, preserving fragments of presence against an impending dissolution.

The installation, scaffolded on vertical poles, detaches the paintings from the white cube’s stability, introducing a rotational drift—echoing the carousel-like, precarious rhythm of existence.

Time here is neither continuous nor absolute: it drifts, gathers, and dissipates without finality. Between the centrifugal push of dispersal and the centripetal pull of memory, Dust in the Wind situates life not as a solid arc, but as a suspended condition—moving, hesitating, briefly held.