[Walking through the unfamiliar, 3th, Chujahye residency result(26/11/2025 - 14/12/2025), Haedong art & culture platform. JeonNam, South Korea]
Collecting the Memory of Land, The World of Geunhee Choe's Works
KO Youngjae(Art Critic / Curator at Gwangju Museum of Art (GMA))
If digital instantly generates images, analogue goes through a slow process of cooperation where time, body, behavior and substance exchange their traces with each other. And spontaneity, imperfectness and nuance generated during this process builds a density that cannot be replaced by digital.
Embracing both the analog ‘process’ and digital methodology in his artworks, Choe’s works remind us of questions that began when photographs first emerged though his works have escaped traditional conceptual photos. Photograph is a medium originated from chemical traces left on the surface of substance by lights. It means that image is not a simple duplication of the world but the trace and layer handed down by the world as well as sediments of time. The process where Choe collects the weed and soils from specific locations, dyes the background substance with those soils and converts the life and restorability of weeds to images is reminiscent of the acts expanding the ‘phenomenon of encountering light and substance,’ in other words, the principle of photograph. A nostalgist may often not recognize the underlying photo from the output of the work; however, he/she may relive the unique practice of phots encountering the outer world through the reenactment methods as well as the weed securing the historic/ecological hierarchy of locations and time.
Prolonged Self-Projection
The ‘Weeds’ series in its 3rd year began from the self-projection, a creative habit of all those take up the art as their livelihood. There must be their own name in the illustrated plant book; however, the artists view themselves as identical with the weeds since they lead their life with no name while being stepped on and pushed aside. From different perspectives, any acts of reminding themselves of the meaning of survival in an aesthetic shape as well as reviving their name may be the behavioral output developed from the process of self-projection and healing rather than a work process executed solely based on the will of creation. The work process largely goes through 5 stages. First, the weeds are collected from general roads or certain locations, and then they are compressed. These compressed weeds are filmed and scanned. Up to this point, a work of basic layer is completed. Eventually, these two previously mentioned layers are composited through digital means. During this process, image, background and outline of object are reversed, and the texture similar to optical reversal effects from aesthetics of cyanotype, similar thick blue color and solarization would be deduced.
Analog images have been replaced through digital, but the delicateness of digital medium conversely represents a unique nature of Choe’s works extracting the analog sensitivity. As expressed by the artist himself, “I hope to be viewed as a language of photographic medium. It does not end with the act of pressing the shutter. It is a hope to be known of the process where it begins from the selection of objects and eventually an image is generated,” it is a thought originated from the contact between the body and location, and the process of physically converting such memory materially is not a visual collection as in a type of records of landscapes.
The artist personally holds and transfers the physical/non-physical traces left at the scene and then builds the whole process into a narrative. Solanum carolinense, bitter fleabane, amaranthus viridis L., Ipomoea quamoclit, ranunculus cantoniensis DC., villous dunbaria, Solanum sarrachoides Sendtn and Celosia argentea L. collected by Geunhee Choe must have their own stories until as they were named. Some of the weeds handled by him were once used for eatery when food supply was in shortage. They were eventually named as the weeds after their use was exhausted, but the weeds must not be the only kind of which significance of existence could be switched based on the needs or non-needs and interests or indifference. All existing beings are bound to be extinct. The artist discusses the fact that such extinction is also a process of living through the weeds persistently rooting themselves.
A Site Condensed with Memory of Life
What brought the artist to settle down and reside in Damyang after being born and growing up in the other region? As discussed earlier, Choe demonstrates distinct senses connecting the time in the past and present ecological state via the weeds as a medium. The weeds and soils collected by the artist represent the layers of the sites condensed with specific time as well as the pieces of memory that have been stored through a long period of time by the soils.
A series of the weeds that continued in Damyang did not take the soil as a preliminary material; instead, it began as a single medium to preserve memories or evidence containing the trace of history. The artist visited the site of historic events and memorable space and site preserving the shape of memory where he collected the soils form and plants growing at such locations. With bracken from the Memorial Tower at Manseong-ri Gwaneo Park, bristle grass and violet crabgrass discovered at the site of base rocks of Damyang Station, plantain near the Statue of a Girl whin the Damyang Jungang Park, oriental chaff flower from the excavation site of the civilian massacre in Yeosu/Suncheon and commelina communis from the nurse tree at Oida Maeul of Damyang-eup, he brings up the longevity of life and fundamental vitality of the weeds rooted themselves within the process of time.
The soils collected were used as dye, and the difference in colors arising during the dyeing of cloths was miniscule yet critical. The color sense of soils differentiated by the conditions of nearby vegetation clearly showed such difference; however, the outcome displayed quite a significance as the color of soils slowly became similar to each other as impurities were eliminated during the dyeing process. The process where individual difference imposed by the locations disappeared and the essence of materials was revealed widely implicate the surface and depth of memory, trace of events, natural circulation, regional characteristics and universality. Also, distribution of the weeds precisely reflects the ecological conditions of each location, and their vitality reminds us of the natural order that sustains longer than the history of civilization. Unlike the practices of human memory that reenact within the historic memorabilia or literature in a fixed format, they absorb the time and are displayed in a form different from the memory that was left as ecological traces.
Accordingly, Choe’s works remain outside the realm of recording the memory in a form of photographic images. The weeds and soils built by the ecological environment are not maintained as a simple natural element but are more of a single complexed structure proving the life and death of humans, outbreak and extinction of events, the environmental changes and energy of circulation. Choe does not arbitrarily interpret such structure or coerce political/social messages connected to a certain location; instead, he conveys the as-is state through visual transformation. It is not reenactment or restoration, and I believe we would be able to identify the significance of Choe’s photographic works from the mediational traits helping a person with live memory of soils reliving the sense of such memory.
On the other hand, nonetheless, the complexity of his work process does not fully induce the substantiality and tension of photographic medium based on records. Moreover, the analogue and digital bonding results in rich outputs from the perspective of completeness; however, when the relevance between the two is not fully materialized theoretically or linguistically in an independent manner, risks persist to be viewed as juxtaposition of formality. This may remain as a challenge in terms of medium and concept during the course where his works are further advancing and going through changes, but it also suggests an occasions to contemplate how to expand the special features of his world of creative works.
[Algorism of fragmented, 14th, Daegu art factory residency result(01/11/2024 - 01/12/2024), Daegu art factory. Daegu, South Korea]
Life with death in mind, an attitude toward life inspired by plants
KHO Chunghwan(Art critic)
As we stroll through the streets, we often overlook the nameless wild grasses around us. Many weeds go unnoticed, even as they are stepped on. They exist, yet their presence often escapes our awareness. One day, Geunhee Choe found himself drawn to these humble wild grasses and weeds. While they may each have a name, they live as though nameless, quietly enduring beneath our notice. The artist saw himself reflected in these grasses. Though they likely have their own unique world, their detached existence, untouched by the emotions of the broader world, resonated deeply with his own way of living and being. Driven by this realization, Geunhee Choe set out to rediscover the forgotten names of the wild grasses and reclaim the purpose of the weeds. Therefore, this endeavor aimed not only to restore the reason for the existence of these overlooked plants but also to offer an opportunity for introspection on the meaning of his own existence. Although the project initially relied on the wild grasses and weeds as its inspiration, it ultimately evolved into a self-reflective exploration of his identity. It is broadly understood that aesthetic value emerges through the transformation of personal experiences into universal ones. While such experiences may be considered personal, they resonate with others and evoke shared empathy. After all, who among us can claim never to have felt a connection with the nameless wild grasses, the unnoticed weeds trodden underfoot, or the things that exist quietly without drawing attention?
Thus, Geunhee Choe collected wild grasses and weeds. They include dead-nettles, red clover, setaria, Crepidiastrum sonchifolium, yellow bristlegrass, golden chamomille, physostesia, catchflies, marigold, digitaria volascens and dandelion, among others. Apart from a few exceptions, most of the names were unfamiliar to him and were things he had only recently learned. Still, the lack of a red underline suggested that the names were probably accurate. Observing their respective name, we can find an interesting aspect where the names seem to mimic how we see and live, trying to resemble humans. In this way, the artist collected plants and gave each one a name. The artist then showcases objects that have been gathered, dried, and surface-stained with coffee before being photographed with their positions reversed. The resulting photographs, developed as negatives on a dark blue background, resemble scenes viewed through X-ray film. In typical analog photography, a negative film is inverted into a positive image using an enlarger. However, Choe Geunhee takes a different approach by reversing a positive digital file into a negative image using Photoshop. Even though digital tools are used, he manages to capture the essence of analog photography.
This can be seen as a recent trend in photography — a retro style that seeks a painterly atmosphere by incorporating textures and materiality often absent in image (pixel)-based photography. It can also be interpreted as a photograph that merges analog and digital, using an analog approach to question the digital, while addressing the paradoxes that arises in the process. Photography, as is widely recognized, originally emerged as a form of pictorial photography, with many of its early experiments resembling chemical laboratories. Many of these experiments were lost to history under the guise of evolution. However, in the digital age, with its cutting-edge technology, these forgotten experiments are being revived, and it could be said that they are now experiencing a second golden age. Perhaps, due to living in the starkness of the digital age, where the overwhelming abundance of vivid images exhaust our eyes, we must have developed a longing for the light-drawn images that photography inherently captures, which is quite ironical. It is probable that we yearned for the chemical materiality, textures, and atmosphere that evoke memories of a chemistry laboratory. We must have longed for the memories of a Wunderkammer — a cabinet of curiosities — filled with the act of collecting, gathering, and classifying, or perhaps it stems from memories of childhood, when we were aspiring young botanists. It is probably connected to the emotions of days gone by.
Geunhee Choe learns from plants how they live — how they endure not by fighting, but by simply adapting to their environment. He described this way of living as “a life with death in mind.” Why did he choose the phrase" with death in mind" instead of “concerned about death”? How does a life of concern differ from one with death in mind? “Life with death in mind” likely refers not to a life that fears death, nor one that clings to life while avoiding death, but rather a life that carries death alongside it or on its head, where death becomes a companion to life. If we reflect on death itself, it could be seen as another version of vanitas, another manifestation of life’s transience. Interestingly, the color blue has historically been linked to a melancholic temperament. Deep blue. The blue is profound. The melancholy is profound. It may be the color, or the depth of it, through which the artist perceives life.
[Night of 13 years(12/11/2022 - 04/12/2022), Art space LUMOS. Daegu, South Korea]
The unfathomable scale of traces
YOON Kewhong(Art director of Open space Bae / Sociologist of art)
At first glance, this series of works is intriguing. Even the journey it took to come to fruition holds its own fascination. Photographer Geunhee Choe had a habit of visiting a local café, purchasing coffee, and transporting it to his studio (workshop). One day, he chanced upon the residue that remained at the cup's base after he had finished the coffee. Each time, the residual moisture formed distinct patterns. These marks instantly evoked the artist's memory of Ibrik Turkish coffee, which is traditionally associated with fortune-telling through the interpretation of leftover coffee grounds. However, rather than tasseography, the artist’s plan was to transcend reality using an alternative approach. Of course, it was through photography.
Through a process of experimentation, Geunhee Choe repeatedly refined the technique until achieving the present outcome, elevating the level of skillfulness. This involved capturing an image of the cup's base using a precise scanner, departing from a conventional camera. Subsequently, the artist made adjustments to the image utilizing a computer software. The scanned depiction underwent a transformation, leading to a complete visual inverting effect. The original yellow-brown hues shifted to a contrasting bluish tone. Its visual aspect resembles that of a radiant interstellar cloud with a bluish glow, mirroring the stars within the Galaxy and the intermingling dust particles. An illustrative comparison can be drawn to the elegant depiction of the Pleiades star cluster in Taurus, visible to the naked eye during winter. This portrayal has garnered widespread attention as a prominent icon, transcending the boundaries of natural sciences and captivating amateur enthusiasts. The familiar depiction of the blue nebula has taken precedence over images of Saturn's rings or the swirling vortex of the Galaxy. Geunhee Choe readily shares this image as a point of reference for his artistic creations. The title "Like a Universe Image" encapsulates both this kind of little trick and the underlying truth. The phrase "Like a Universe Image” seems to allude to an image that lacks authenticity, doesn't it? Through this conceptual framework, the artist poses questions with a somewhat classical essence: “Is what we see the truth?” and “Can visual art approach truth, or does it have to embrace illusions?”
Viewers encountering Geunhee Choe's artwork without the context might find themselves perplexed. Nevertheless, if this information serves as a form of spoiler, there's merit in experiencing his creations without prior understanding. This absence of information enables them to wholeheartedly embrace the artistic accomplishment inherent in his photographic pieces and enjoy the subsequent unexpected outcome. Even for those who are aware of the artist's intention to lead them away from cognitive preconceptions, a certain level of embarrassment is inevitable. This sense of bewilderment primarily stems from two main factors. Firstly, it arises due to the departure of the current theme from that of the artist's prior works. Secondly, it is rooted in the inherent divergence of the artwork itself. This intricate fascination is interwoven with a range of emotions such as unfamiliarity, evoking a sense of being beyond the present reality, a feeling of wonder, isolation, unease, engrossment, a spirit of discovery, fear, illusion, and a touch of nostalgia.
The weakness of this aesthetic allure lies in the fact that its genuine essence is a commonplace aspect of the daily lives of many individuals. This vulnerability stems from the prevalence of numerous images captured from various angles of a familiar object. Such commonplace elements, easily accessible through online searches, typically rely on magnified optical technologies that closely depict the subject. The manipulation or isomorphic production that transforms a microscopic perspective observed through a microscope into a macroscopic view akin to what a telescope captures is a visual effect that has become quite common, to the point that the term “high-tech” no longer exclusively applies. In other words, it's now evident that the notion "You perceive in accordance with your knowledge," often aligned with the artist's viewpoint, can be replaced by "You can perceive as much as you lack familiarity with.” This phenomenon is more prevalent in contexts beyond the realm of art. As a result, the discourse surrounding the need to incorporate this optical illusion effect into the rationale for art naturally emerges as a consequence of this phenomenon.
Geunhee Choe places a primary emphasis on a literal interpretation in his approach to photography. This can be likened to establishing an acceptable parameter that fulfills the essential role of a photograph. When considering the invention of photography and its initial societal purpose, Geunhee Choe, much like numerous photographers, views the deviation from the fundamental norms as a form of artistic exploration. In the essay composed during the preparation of this series, the artist openly acknowledges a substantial disparity between his work and the established principles of photographic art. He endeavors to address various controversies, asserting his work as an experimental venture that incorporates pictorial elements.
“The intention behind this artwork is to convey its message using imagery, a language of artistic expression that diverges from the photographic. Photography serves as a vehicle for realistic representation, while art serves as a medium for abstract expression.”
If this assertion is valid, the scanner he opted for instead of a conventional camera in this project can be likened to the sketch in traditional painting, while the computer keyboard and tablet stand as equivalents to the artist's brushes. The magnified coffee stains unveiled some details that are usually unnoticeable. The artist incorporated these insights into the fundamental components of art like dots, lines, and planes, further introducing refinements such as erasure and highlighting. Each piece of this kind of post-production demands roughly a month's worth of effort. The schema comparing his unique work to drawing is not wrong. However, throughout the course of meticulous revelation, the artist deliberately constrained the distinctive attributes of photography as a medium within an exceedingly confined scope, thereby restricting art within the domain of abstract expression. Considering the contemporary state of visual arts where the distinctions between genres are becoming increasingly blurred, it would be more accurate to interpret Geunhee Choe's self-definition as humble rather than limiting. His recent work could be seen as a transitional exploration from photography to painting. However, the creation and presentation of artistic endeavors within the sphere encompassing both photography and painting don't require adherence to rigid rules or seek permission from any authority. Despite this, the artist maintains a prudent stance toward his experimental approach. He doesn't have to. After all, the artist holds absolute ownership over the aesthetic realm he has created.
If the artist employed abstract expressionism paintings as a benchmark for this endeavor, it is necessary to closely examine the principles of abstract expressionism manifested within his iconography. This amalgamation of accidentality and inevitability will be explained in the subsequent passages. There's one aspect we have left out, which is the coffee paper cup, the subject matter itself. If the rule pertains to deriving a single artwork from one cup, it stands to reason that there are more original cups than the quantity of artworks presented in this exhibition, as well as an abundance of materials. All materials utilized in the creation are sourced from Starbucks coffee cups, indicating their uniformity under identical conditions. Why Starbucks in particular? The interpretation of the social implications associated with this franchise could also encompass numerous facets. Nonetheless, the artist doesn't harbor any particular intention concerning this external context. The sole benefit lies in the uniform paper quality and standard of Starbucks cups, which align with the repetitive nature of the artistic process. However, it's essential to acknowledge the artist's ingrained habit of not discarding scraps and hoarding them, intertwined with his preference for specific coffee choices.
Excessive obsession on specific items can manifest as an unusual psychological symptom known as hoarding disorder when it comes to consumer goods. Drawing a clear line between typical collecting habits and pathological hoarding behaviors can be challenging. Geunhee Choe is not the sort of individual who clings to all objects without discrimination. Additionally, it's quite probable that he recognized the practical value of the cups he employed as artistic materials. Almost everyone has a few items that they become fixated on and are hesitant to discard. It's also interesting to observe how such items have been skillfully repurposed into quality creations by Geunhee Choe, often through productive processes. The material generation repeated under the same conditions brought in random elements. Nevertheless, it's important to note that his creations aren't solely dependent on these unpredictable coincidences, which extend in an exceedingly disperse manner. While the patterns that emerge might exhibit slight variations, the imprints left on the round cups are controlled within a framework of specific order. Replicating the same content within an identical format reflects an unavoidable intention. In a similar manner, the stochastic process, where accidentality and predestined outcomes collaborate, draws parallels with a concept originating from evolutionary biology. However, this concept finds relevance as an artistic theory as well. Expanding our perspective doesn't drastically alter the viewpoint. This remark describes the historical journey of Geunhee Choe. The contrast between his earlier works and his more recent pieces could evoke puzzling emotions and present challenges in comprehension. Nevertheless, it's not an entirely inscrutable situation. The vacant urban spaces and the discarded coffee grounds both constitute remnants of our consumption. In this context, Geunhee Choe assumes the role of an observer, casting his gaze back upon the locations swept by our desires.
[Gap of one's eyes(20/03/2012 - 30/03/2018), Syo gallery. Daegu, South Korea]
Between the constructed and the deconstructed
YOON Kewhong(Art director of Gallery BUNDO / Sociologist of art)
Capitalist development has therefore to negotiate a knife-edge path between preserving the exchange values of past capital investments in the built environment and destroying the value of these investments in order to open up fresh room for accumulation. (David Harvey)
The recurrence of an exhibition under the same title marks its third occurrence. Currently, I don't possess information regarding the duration of the solo exhibition by photographer Changjae Choe, titled <The Gap of the Gaze>, which has been presented annually over the past three years. The future duration of this exhibition remains uncertain. This event could encapsulate the artist's strong determination to maintain a sense of consistency while incorporating slight alterations, potentially indicating a certain level of uncertainty at this juncture. This solo exhibition, hosted at Syo Gallery, holds significant importance, especially if the artist renounces the notion of elevating it to a singular, career-defining showcase. To be specific, the artist is creating a crucial milestone in his own history. The artist's involvement in public art is aligning in form with the ongoing series “<The City>” that boasts the substantial body of work associated with it. This alignment stems from the fact that this particular space provides the most precise depiction of the present moment.
Up to this point, our understanding has leaned towards the concept clarified by the artist himself regarding the idea of the "gap of the gaze." Speaking as an observer, what I wished for was a simpler approach to interpreting his realm of photography. There existed a period when the term “gap” was surging within our country's art sphere. In the early 1990s, the influence of postmodernism started permeating Korean culture. This shift was marked by the introduction of Leslie A. Fiedler's ideas through an article in the quarterly publication Foreign Literature. In fact, it was not Fiedler himself, but rather Professor Seonggon Kim, the translator of the text, who introduced the term “gap.” This term was used to describe the divide that separated popular culture from pure culture. I had forgotten for a while about this term that was once commonly used in literature. However, I encountered it anew at a photo exhibition. Unlike the typical utilization of the word “spacing,” which denotes the act of keeping a physical distance between objects, the term "gap” appears to emphasize the idea that objects are divided by an immense polarity. I hope my interpretation aligns with your perspective.
Changjae Choe's artworks also exhibit a gap in focus, encompassing two main directions. Firstly, there's a concentration on the value of development, while the second centers around the significance of preservation. The artist carefully navigates these concepts using the medium of a camera lens. Within this lies the capture of something remarkable, presented in the form of a photograph. However, in less favorable circumstances, this juncture might lose its importance. Of course, the responsibility for this doesn't fall on the photographer, nor is it attributed to the camera itself. Rather, the issue resides with the audience that engages with the artwork. Many pieces sharing similar themes have previously underlined their aesthetics or societal rationale. Nonetheless, a majority of these works come across as proclamations that lack substantial significance, at least from my perspective. Shouldn't <The Gap of the Gaze> strive for differentiation, even if only to a small extent? Fortunately. the composition characterized as a "gap” provides a clue in this regard.
At first glance, his artworks might seem complicatedly intertwined. Nevertheless, the overarching composition is extremely simple. It can be categorized into two zones: the first being land that has already undergone development and will remain unaltered for a considerable period, and the second comprising land yet to be developed or earmarked for demolition and subsequent redevelopment. A perpetual element is the presence of a fence or wall, often in various forms, separating one area from the other. Daylight-centric captures are deliberately arranged with a planar quality, downplaying the contrast in terms of tangible depth. Throughout his photographic works, we easily encounter anomalies alongside recurrent elements in each piece. Notably absent are human figures, while abundant are the appearances of trees. These trees are predominantly situated on the undeveloped side. I am afraid that audiences might interpret <The Gap of the Gaze> as a typical composition of artificiality and nature. Furthermore, I hold concerns that the artist himself might occasionally address the concept in a similar manner. The disparity at hand doesn't revolve around a dichotomy of artificiality versus nature; instead, it's a contrast of artificiality versus a state of partial artificiality. The trees observable within urban settings are, in fact, a component of the artificial construct. Trees sowed within mountainous terrains, crops flourishing in fields, and rivers confined within concrete enclosures aren't purely nature, but rather extensions of the urban sphere.
Another discernible aspect in his photographic works is the anonymity enveloping the depicted locations. There's no need to embellish it as a grandiose concept of "de-placeness.” Put plainly, pinpointing the precise location of each place isn't straightforward. These areas remain unnamed. These locales are commonplace, the sort that only a handful of individuals would take notice of. If an everyday person were to capture an image with their cellphone, it would likely be of a noteworthy place worth remembering, but not the type of setting found here. However, by concentrating on the diverse techniques and artistic implications of photography, your perspective will expand to encompass the road-view that Changjae Choe offers.
As is commonly recognized, with the proliferation of cameras and advancements in their capabilities, photographers embarked on a journey to a different realm, distinguishing themselves from the conventional aesthetic pursuits of the general populace. These locations that have transformed into photographic subjects can be considered, in a sense, archetypes of the departure that artists aspire towards.
Labeling the deconstruction and reconstruction of the urban landscape as “non-deterministic characteristics,” Changjae Choe perceives the driving force behind this as an innate human longing. From my perspective, the non-deterministic attribute he employs seems to allude to the limited administrative intervention within societal structures, rather than the chaos theory found predominantly in the realm of new sciences where the term is commonly used. For instance, the pursuit of individual stakeholders seeking personal gain and aiming to avoid public regulations eventually lead to visually distinct outcomes, like waves of redevelopment or the proliferation of apartment complexes. Social and natural scientists have already unveiled a considerable portion of these discernible patterns. To be more precise, investigations into phenomena that encompass "non-deterministic characteristics,” such as patterns of galactic clusters, stock prices, art piece valuations, public backing for specific political parties, and urban traffic volume, can be examined utilizing a consilient inquiry methodology. The artist's critical mind or discerning standpoint is a motif that has been extensively explored within the realms of geography and sociology. David Harvey's classic yet concise analysis, presented at the outset of the article, serves as an apt illustration. Nevertheless, the manner in which artists observe and interpret the same world differs from that of scientists. The wall captured in the photograph represents a compelled intervention supported by legal mandates in reality. Conversely, within his artwork, it assumes the role of a tool for cognitive mediation. Reflecting on this, is it overly ambitious to anticipate the development of a technique capable of visually evoking the fence's boundary function through the implementation of special methodologies?
I find myself intrigued by the external landscapes that the artist deliberately omitted from the frame. While administrators and scientists strive for control and analysis over all spaces, Changjae Choe's underlying aspiration lies in perfecting the composition and arrangement within the frame. As a self-proclaimed visual artist, his primary intent is to gauge and construe the world through his unique vision. This stance also serves as a commentary on reality. Simultaneously, this is also a pure artistic act. This holds true regardless of the perspective from which his artwork is examined. It's worth considering the words of Paul de Man: “The history of literary criticism is the history of misreading.” It's plausible that Changjae Choe might indeed intend for the audience to misinterpret his work. If not, we cannot discount the possibility that he is, perhaps, endeavoring to illustrate the divide between art and non-art through his work as a metaphor.