ERASED FACES

About ERASED FACES

This work is an attempt to recall erased memories and vanished faces. It approaches the traditional Korean moon jar as a “vessel of memory,” visualizing silent testimony through the projected image and gestures of a woman upon its surface.

The faces of the women once referred to as “comfort women” were largely unrecorded, and their voices were erased within the fractures of society. Through this work, the artist seeks to confront both the traces of their existence and the violence of their erasure.

The jar used in this piece resembles traditional white porcelain at first glance. However, upon closer inspection, its surface reveals layered brushstrokes, traces of taping, and uneven strata of lines. These marks are not merely decorative; they are records of repeated acts of erasing, overlaying, and erasing again. The surface thus exposes the physical strata of memory itself. Though it appears partially restored through technological means, its incompleteness remains—serving as a visual fragment that recalls deleted narratives and forgotten lives.

Erased yet rewritten memories, deleted yet reconnected narratives—these layers of imperfection transform the jar into more than a vessel of the past. It becomes a medium of testimony, one that revives and rewrites memory.

ERASED FACES situates itself between the form of tradition and the intervention of technology, seeking to restore stories that could not be spoken. Moving beyond mere commemoration, it stands as a visual testimony for those whose existence was erased, yet never forgotten.