《Red Hill, Juan》 shifts the viewer’s perspective to Juan, Incheon, where the artist’s maternal grandmother, Shininho, spent her life. On an uninhabited hill, the viewer encounters Shininho moving alone in front of a pirate ship, as if dancing, and gradually approaches her. As the scene shifts, Shininho continues to laugh and dance in the darkness, performing slow movements in which dancing and attack seem to overlap. Between small flames flickering at her fingertips, a structure reminiscent of a data center briefly comes into view. When the scene returns to the red hill, Shininho has disappeared.

As Shininho’s data acquires different bodies and surfaces throughout the exhibition space, the viewer is also placed within the same space as Shininho in VR. Moving along a predetermined path, the viewer turns their head to construct their own field of vision at each moment, encountering Shininho’s body and the surrounding landscape only in fragments. After Shininho disappears, it remains unresolved whether the viewer has been left alone or has taken over the place she vacated; only the viewer’s field of vision remains.

The VR headset is placed on a sewing kit made in the 1930s, around the time Shininho was born. A tool once used to create the surfaces of the body now supports a device that relocates the viewer’s field of vision and position, bringing technologies from different generations together in a single place. As the viewer’s field of vision moves toward Juan inside the headset, a body seated before the sewing kit remains in the exhibition space like a frozen scene. The viewer who witnesses Shininho simultaneously enters the field of vision of another viewer. Following the data generated from Shininho’s body, the wearer’s actual eyes and head move, and the data thus becomes a physical experience once again.