Yunju Song (b. 1974) uses ancient pictographs or symbolic figures (gwesang) to extract the essence from "visible things" and create symbols that give meaning to "unseen things." She has previously explored aspects of the modern lifeworld and the emotional states of contemporary people.

In this exhibition, Song expresses the "unseen things" that are being forgotten in the modern lifeworld, despite ample room to welcome them. She deals with what comes after death (死): the gwi (ghosts) and shin (gods). These are invisible to the human eye but are trusted and revered to exist.

It was believed that humans are born from the collective energy of heaven, earth, and ancestors, which scatter and return upon death. A rye (ritual propriety) is necessary to repay this origin. Rites (je) are offered to heaven at Hwangudan, to earth and grain at Sajikdan, and to ancestors at Jongmyo. Due to its ambiguous nature, our ancestors emphasized attitude rather than clear conceptual definitions. The attitude of "as if they were present” was fundamental. The state of mind when offering rites (je) to gwi and shin is "Yeojae" (如在).

This mindset for the rite (je) governs the altars and buildings, the shape of the ritual vessels and offerings, and the timing of the rites, which connects to the constellations. Collectively, they create sang (images). The constellation featured in this exhibition is positioned where life ends, namely Heosu.

In the sky, the Big Dipper watches over people, and on earth, grains grow to feed all life. The shapeless wind causes the tree above Taegeukjeon to dance and shakes the willow by the palace pond, startling the turtle. In the season when Heosu rises, incense is burned and wine is poured to greet the spirits (gwishin). A young calf is offered toward the Jamiwon and the Big Dipper in a rite to heaven, and the grains are harvested to venerate the earth. This is a feast of sang (images).