Dear Breeze: Passing
2025
Three-channel video installation with printed banners
Dimension variable
Photo: dulub studio; Courtesy of MoNTUE.
In this two-part installation, the single-channel video Dear Breeze follows a narrative structure, centering on a young woman in the summer heat, trapped between a sense of idleness and the desire to depart. She is unable to leave, yet wishes she could go, suspended in a journey that never truly begins. Composed through Super 8 film, digital video, and photographic collage, the work reconstructs the visual language of airline and tourist advertisements. Blurring the line between documentary and fiction, memory and projection, the film examines how femininity and consumer desire are constructed and sustained. These aesthetic codes, she suggests, are not neutral; they operate within a system of cosmopolitan capitalism that commodifies longing itself.
Dear Breeze: Passing extends this inquiry into a spatial constellation of three-channel video and large-scale printed images, situated within the passageways of airports, stations, or shopping arcades. Advertising surfaces are saturated with projections of freedom, happiness, and romance, while the female body is repeatedly cast as a symbol of departure, a product of leisure, a vessel of desire. The spatial displacement turns these familiar images into how our perceptions, identities, and desires are formatted and internalized by these visual scripts. Rather than narrating flight directly, the work turns toward the affective infrastructure of travel itself: how we are guided, moved, and shaped by visual codes. The promise of departure becomes a mirror for desire, where vision slips between fantasy and fatigue, and travel is no longer a choice but a condition of being watched.
Dear Breeze: Passing extends this inquiry into a spatial constellation of three-channel video and large-scale printed images, situated within the passageways of airports, stations, or shopping arcades. Advertising surfaces are saturated with projections of freedom, happiness, and romance, while the female body is repeatedly cast as a symbol of departure, a product of leisure, a vessel of desire. The spatial displacement turns these familiar images into how our perceptions, identities, and desires are formatted and internalized by these visual scripts. Rather than narrating flight directly, the work turns toward the affective infrastructure of travel itself: how we are guided, moved, and shaped by visual codes. The promise of departure becomes a mirror for desire, where vision slips between fantasy and fatigue, and travel is no longer a choice but a condition of being watched.