Kim Joon

Commensal is a sound archive presented in the form of a box, composed of recordings and images that document the geological and ecological environments of three regions: Gangwon Province in Korea, New Zealand, and Australia. The work includes sounds recorded with multichannel directional microphones and plants collected from the remote mountain ranges of Australia’s Blue Mountains, stones gathered by the artist during a 3,000 km journey across New Zealand’s South Island along with the recorded hardness of those stones, and the sounds of wind, water, and trees captured in the mountainous areas of Gangwon Province. Within the exhibition space, these sounds heard like layers of white noise carry not only the distinct sense of place of each site but also the artist’s embodied experiences and emotions interwoven with them.

Commensal is a sound archive presented in the form of a box, composed of recordings and images that document the geological and ecological environments of three regions: Gangwon Province in Korea, New Zealand, and Australia. The work includes sounds recorded with multichannel directional microphones and plants collected from the remote mountain ranges of Australia’s Blue Mountains, stones gathered by the artist during a 3,000 km journey across New Zealand’s South Island along with the recorded hardness of those stones, and the sounds of wind, water, and trees captured in the mountainous areas of Gangwon Province. Within the exhibition space, these sounds heard like layers of white noise carry not only the distinct sense of place of each site but also the artist’s embodied experiences and emotions interwoven with them.

Commensal is a sound archive presented in the form of a box, composed of recordings and images that document the geological and ecological environments of three regions: Gangwon Province in Korea, New Zealand, and Australia. The work includes sounds recorded with multichannel directional microphones and plants collected from the remote mountain ranges of Australia’s Blue Mountains, stones gathered by the artist during a 3,000 km journey across New Zealand’s South Island along with the recorded hardness of those stones, and the sounds of wind, water, and trees captured in the mountainous areas of Gangwon Province. Within the exhibition space, these sounds heard like layers of white noise carry not only the distinct sense of place of each site but also the artist’s embodied experiences and emotions interwoven with them.

Commensal is a sound archive presented in the form of a box, composed of recordings and images that document the geological and ecological environments of three regions: Gangwon Province in Korea, New Zealand, and Australia. The work includes sounds recorded with multichannel directional microphones and plants collected from the remote mountain ranges of Australia’s Blue Mountains, stones gathered by the artist during a 3,000 km journey across New Zealand’s South Island along with the recorded hardness of those stones, and the sounds of wind, water, and trees captured in the mountainous areas of Gangwon Province. Within the exhibition space, these sounds heard like layers of white noise carry not only the distinct sense of place of each site but also the artist’s embodied experiences and emotions interwoven with them.

Commensal is a sound archive presented in the form of a box, composed of recordings and images that document the geological and ecological environments of three regions: Gangwon Province in Korea, New Zealand, and Australia. The work includes sounds recorded with multichannel directional microphones and plants collected from the remote mountain ranges of Australia’s Blue Mountains, stones gathered by the artist during a 3,000 km journey across New Zealand’s South Island along with the recorded hardness of those stones, and the sounds of wind, water, and trees captured in the mountainous areas of Gangwon Province. Within the exhibition space, these sounds heard like layers of white noise carry not only the distinct sense of place of each site but also the artist’s embodied experiences and emotions interwoven with them.

Flow Noise I is a sound object and analog interactive installation, created from sounds collected in nature. The wooden structure contains two built-in speakers and an amplifier, each emitting a distinct natural sound. When viewers rotate the piece by hand, the direction and resonance of the sounds change in response, generating a real-time auditory transformation. Through this interaction, the artist explores how the sounds of nature can be reconfigured within space through technological mediation. The work extends beyond a purely auditory experience, inviting physical engagement and sensory expansion. By translating the intangible element of “wind” into a tactile experience of rotation, vibration, and resonance, Kim introduces a new sensory structure in which hearing and touch intersect. This analog operation restores modes of perception and response within an era dominated by digital interfaces, articulating the artist’s intention to construct a sensory field where nature, human presence, and technology coexist.

The Place Where Breath and Wind Blow is a sound bench installation composed of sounds collected by the artist. The work expands the immaterial medium of sound into a visual, tactile, and olfactory experience, encouraging the audience to engage with it through a synesthetic sensibility rather than through indirect listening alone. Sitting on the bench, the viewer encounters sound not as a record of a specific place or object but as an intuitive sensory experience that arises directly from the act of listening itself.