Gyun Hur: “I wouldn’t know any other way”
In this performance series, I wouldn’t know any other way, artist Gyun Hur stays present for seven days with her installation in Death Becomes Her, deconstructing silk flowers and placing them on the existing work, and physically placing herself on a photograph of her as a young child in her grandmother’s garden. Through gestures of repetition, Hur meditates on loss, trauma, assimilation, and redemption. In many ways, she is recreating her childhood play in her grandmother’s garden in Waegwan, South Korea. Until the age of four—when her grandmother sold the house and land to move to the city—Hur would play in the garden creating “meals” from the flowers, stones and leaves. Once the garden was left untended and the caring stopped, it began to lose its vitality until it disappeared entirely.
The memory of this garden is one of joy but it also harbors a sense of impermanence that is embedded in the artist’s personal and historical memories as a member of the Asian diaspora. Hur’s actions mimic the tending of a garden, which in turn relates to the tending of ourselves in life and death. This thoughtful performance series will slowly change her work throughout the run of the exhibition, questioning how we tend to memories. What does it mean to continue to remember and cherish the inner thoughts and memories that anchor us?