Aching Fingers, 2025, Pottery light installation, mixed media, 39 × 38 × 38 cm (5), Dimensions variable, Ed. 1/5, A.P. 2

Aching Fingers, 2025, Pottery light installation, mixed media, 39 × 38 × 38 cm (5), Dimensions variable, Ed. 1/5, A.P. 2 Yeondoo Jung, who has long been interested in the juxtaposition of visual imagery with auditory elements such as music, voice, tone, and noise, constructs a responsive structure among video, photography, and sculpture in Inevitable Blues. Aching Fingers serves as a visual response to Inevitable Blues – Contrabass, in which five jars emit shifting, iridescent light in correspondence with musician Ray Soul’s finger movements on the contrabass. The work visualizes the tactile sensation of fingers pressing against strings, revealing the inner vibration of sound, while the form of the jars, reminiscent of vessels used for fermenting rice wine, connects the rhythm of the blues to the organic process of fermentation. For Jung, the meeting of rice and yeast represents a principle of creation close to the divine, embedding within the work a belief in transformation and regeneration rather than decay and disappearance. Inevitable Blues and Aching Fingers extend this worldview into an exploration of expanded perception, where vision and sound, analog sensation and digital technology converge. By precisely aligning sound data with programmed light responses, Jung translates musical rhythm and bodily sensation into a digital control system. This process transcends a formal experiment in technology to become a meditation on how sensory experience and bodily perception can be reconstructed and reinterpreted through digital mediation. For Jung, the digital operates not as a tool but as a living interface through which music, material, emotion, and device continuously transform one another.