Rhaomi depicts the narratives and images surrounding a certain space and rearranges them on canvas. Per te d’immenso giubilo-Geumsugangsan is an extension of her work. She recognizes painting the images on canvas as an act of ‘adaptation’ and connects the process with finding the archetype before it is adapted through temporality. Dandong, the subject of her work, is a coastal city which has been host to an active flow of modern culture as a maritime and open port city. The artist, however, finds drifting images of factories in the current landscapes of Dandong and recontextualizes them; the factory as the symbol of modern progress and industrialization in western architecture coupled with the now function-less former coastal city. Through this process, she unfolds the fragments of a squirming imperialist desire and unearths traces of this ideology in the form of a diorama.
Alongside this, the installation of printed folding screen paintings shows the remnants of the former Dandong. Behind the paintings, there is a lining paper on the wall that is made of a variety of materials, such as Maeil Sinbo newspaper and a cement bag of Onoda Cement Company from the 1930s. Tracking the path of images produced in Japan and moved to Dandong via Seoul, Hamgyeongnam-do and Sinuiju allows us to have a glimpse at how these images have changed, and what the ever-adapted-andcirculating paintings mean.
KBS NEWS, [통일로 미래로] 서울에서 본 북·중 접경…경계 없는 소통, http://news.kbs.co.kr/news/view.do?ncd=5159489&ref=A
연합뉴스, 신의주·단둥서 묻는 경계의 의미…문화역서울284 기획전, https://www.yna.co.kr/view/AKR20210317097600005?input=1195m