From the old man’s complexion lit by natural light, to the crowd bathed in the color of night; from the square stained blue by LED billboards, and the anti-government protestors reveling all night, to the rust and oxidized-green surface of a rural metal mine; movements of these different characters, even a violent squall colliding with a mountainside – these all create a refraction from the skin to the earth’s crust.

I often think of the strong emotional fluctuations I experience in the filmmaking process and how to endure them. However, at the exact some time one’s senses are being struck and consciousness is constantly being washed out, a blank space emerges; an internal blank surface in which stories and landscapes are regenerated into shapes and forms, re- turning to each of their own positions. The doubling of the surfaces bring everything back to the starting point; back to the womb.

A “tossing and turning” takes place in this blank surface. The “double” is not something empty or intangible, but a living organism taking the shape of a body while generating movement. The body rolls over and instantly fires all the joins and knuckles; the blood starts to circulate. The two surfaces twist and intertwine, creating a body and its skin. The double images penetrate each other; layers of reflections in the skin melt together. His hair and skin, expression and movement, just as vivid and lively as they could be.

But what about the emotions stirred by the impact of reality? Have they disappeared? No, they become the plasma hidden under the skin. The sensory experience gives them a place to return to – instead of simply turning into grief or cynicism, they become the hematopoietic tissue under the surface of the skin.

I think of image not as a way to document the cruelness of reality, or the psychedelic vertigo of the LED lights in the square, but more as a means of connecting the surface and skin, from double of rebirth.

I wonder why I always submerge myself in a way of filming that’s like skimming the surface of the earth; leaving myself open to the shocks of the uncertain rather than following a script. I think of filming as a basic movement of our consciousness- at a time when everyone can take out his or her photo to film, we have all actually developed a new human reflex, along the lines of “thinking” or “seeing”. That act has become so ordinary that we almost neglect it : a new basic movement that allows us to evolve a new sensory antenna.