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Flowing Violence: meet me at the water, immersive video installation
흐르는 폭력: 물에서 만나요, 몰입형 비디오 설치


3-channel video (4K color, stereo),  9’ 09”, Dec 2024



<흐르는 폭력 Flowing Violence>은 한국계 미국인 시인 김경희와의 협업으로 제작된 멀티센서리(multi-sensory) 설치 작업이다. 시간과 국경을 초월하는 전지구적 물의 흐름과 연결되어 함께 흐르는 폭력을 다룬다. 한국전쟁 학살 희생자들을 태운 재, 한강에 갓난 아기와 투신하려던 할머니의 피눈물, 그리고 현재 이루어지는 폭력의 현장에서 흐르는 모든 잔여물들이 흘러 ‘우리’의 몸에 닿는 순간을 상상하도록 이끈다.



Flowing Violence (2024) is a multimedia installation made in collaboration with Korean American poet Kyunghee Kim. It invites the audience to imagine how silenced violence may flow with water, reaching the land and the bodies we live in, transcending borders and time.

The average speed of water molecules is around hundred meters per second in an open space. We are 70 percent water and about 98 percent of all the atoms in our body are replaced every year. We are in constant flow. The flow of water, the flow of life, the flow of history, and maybe, the flow of violence.


the blood and ashes of a few hundred civilian refugees, who were massacred by American armies under the No Gun Ri Bridge during the Korean War,
and ‘the tears of blood’ (피눈물) that my grandmother shed, while dragging her two babies to Han River to commit family suicide after the war,
and more


might have been dissolved into the water,
flowing from there to here, from then to now,
taken into our bodies, haunting us,
saying, 

meet me at the water
I am here,
all along
with us, before us,
in us*


A video component of the installation is a 3-channel video, meet me at the water (2024), of which title is borrowed from the title of Kim’s poem written for the video. The video consists of distinct perspectives: high-angle shots and underwater shots of the Huron River near the artist’s residence. These represent two views: one of humans living their everyday lives, and the other of violence, which may flow beneath the surface—quietly but constantly. The seemingly peaceful river carries faint, almost invisible traces of blood and ashes. As the voice in the video whispers and recites a poem revealing American imperialist violence in Asia, the camera begins to travel underwater, where the blood and ashes visibly mingle and dissolve into the river’s flow. The video invites the audience to feel submerged, flowing alongside these particles, and to connect with a silenced tragedy carried by the water.



*an excerpt of the poem, meet me at the water (2024) 




Full Work Statement (ENG) ︎︎︎

Read the poem (ENG, KOR) ︎︎︎














Directed by Okyoung Noh
Poem by Kyunghee Kim
Filmed by Okyoung Noh, Ben Zink
Edited by Okyoung Noh
Music by Chien-An Yuan
Installation advised by Joe Rohrer
Voice by Kyunghee Kim, Leah Crosby, Okyoung Noh











<흐르는 폭력 Flowing Violence>는 한국계 미국인 시인 김경희와의 협업으로 제작된 멀티센서리(multi-sensory) 설치 작업이다. 시간과 국경을 초월하는 전 지구적 물의 흐름과 연결되어 함께 흐르는 폭력을 다룬다. 한국전쟁 학살 희생자들을 태운 재, 한강에 갓난아기와 투신하려던 할머니의 피눈물, 그리고 현재 이루어지는 폭력의 현장에서 흐르는 모든 잔여물이 흘러 ‘우리’의 몸에 닿는 순간을 상상하도록 이끈다.

열린 공간에서 초당 100미터를 이동하는 물 분자, 대양을 건너 우리의 피부를 두드리는 수증기, 70퍼센트의 물로 구성된 우리의 몸, 그리고 매 순간 주위의 것과 교체되는 몸의 원자들. 우리는 거대한 흐름에 서 있다. 물의 흐름, 생명의 흐름, 역사의 흐름, 그리고 어쩌면, 폭력의 흐름.

그 흐름 속 우리의 몸은 폭력의 잔해물과 연결된다. 몸속 깊은 곳, 이들이 속삭인다.





I am here,

all along

with us, before us,


in us*









Flowing Violence: meet me at the water, immersive video installation
흐르는 폭력: 물에서 만나요, 몰입형 비디오 설치


3채널 영상 (4K color, stereo).  9’ 09”. 2024










<흐르는 폭력>의 3채널 프로젝션 <흐르는 폭력: 물에서 만나요>은 길게 이어진 물의 흐름을 시각화하고, 관객의 몸을 감싸는 몰입형 경험을 유도한다. 영상은 서로 다른 두 촬영 앵글로 이루어져 있다: 눈높이에서 내려 보는 강, 그리고 그 강의 표면 아래. 이 두 앵글은 사람의 시선과 강 아래를 흐르는 폭력의 시선을 은유한다. 겉보기에 평화로운 물줄기는 거의 보이지 않는 양의 피, 재, 그리고 유기물 부산물과 함께 흐르고 있다.

제국주의적 폭력의 미시사를 읊는 여성의 속삭임과 함께, 영상은 강의 표면 아래를 비춘다. 느리지만 끊임없는 물의 흐름 속에서 모든 부산물은 뒤섞이고 있다. 영상은 관객들을 이 모든 입자와 함께 흐르고 잠수 되는 감각으로 초대한다. 나아가 침묵의 흐름 속, 모든 비극과 우리의 몸이 연결되도록 이끈다.





감독: 노오경
시: 김경희
촬영: 노오경, Ben Zink
편집: 노오경
음악: Chien-An Yuan
설치 조언: Joe Rohrer
목소리: 김경희, Leah Crosby, 노오경







Flowing Violence: and be our body, multi-sensory installation

흐르는 폭력: 그리고 한 몸으로, 멀티센서리 설치


피, 훈연, 총탄 향이 레이어드된 향이 섞인 안개, 철분과 훈연액이 든 파티용 음수대, LED. 가변 설치. 2024




<흐르는 폭력>의 설치물 <흐르는 폭력: 그리고 한 몸으로>는 미국의 파티에서 사용되는 펀치볼 파운틴, 그리고 2대의 포그 머신으로 구성되어 있다. 관객이 방에 들어서면 포그 머신에서 자동으로 분사되는 안개 사이로, 희미한 빛을 내는 음수대를 볼 수 있도록 설계되었다.

관객의 피부에 스며드는 안개에는 조향사가 만든 피, 훈연, 총탄 향 등이 레이어드되어 있다. 관객은 작은 일회용 컵으로 음수대의 물을 마실 수 있다. 음수용 물은 약간의 철분과 훈연액이 섞여 비릿한 피 맛과 매캐한 탄내를 연상시킨다.

기체와 액체 상태의 물은 미세하지만, 분명한 폭력의 흔적을 증언한다. 다양한 형태로 현현되는 잔여물은 관객의 몸을 감싸고, 그 안으로 흡수된다. 위 작품은 일상적인, 그리고 외면할 수 없는 폭력의 흐름을 시각화한다. 그 흐름의 일부로, 긴밀히 엮여있는 우리의 신체성을 상기시킨다.




설치: 노오경
조향: Roland Derin Deschain
유승아 기획자와의 대화에서 영감을 받아 제작되었습니다.







*an excerpt of the poem, meet me at the water (2024)











2025년 상반기 예정 소식



스크리닝, Stove Work︎︎︎ (Feb 21-Jun 7)

석사 졸업전시, Stamps Gallery︎︎︎ (Mar 21-Apr 12)

퍼포먼스, Duderstadt Center︎︎︎ (May 8-9)







Flowing Violence (2024) is a multimedia installation made in collaboration with Korean American poet Kyunghee Kim. It invites the audience to imagine how silenced violence may flow with water, reaching the land and the bodies we live in, transcending borders and time.

The average speed of water molecules is around hundred meters per second in an open space. We are 70 percent water and about 98 percent of all the atoms in our body are replaced every year. We are in constant flow. The flow of water, the flow of life, the flow of history, and maybe, the flow of violence.

The blood and ashes of a few hundred civilian refugees, who were massacred by American armies under the No Gun Ri Bridge during the Korean War,
and ‘the tears of blood’ (피눈물) that my grandmother shed, while dragging her two babies to Han River to commit family suicide after the war,
and more

might have been dissolved into the water,
flowing from there to here, from then to now,
taken into our bodies, haunting us,
saying, 



I am here,

all along

with us, before us,


in us*









Flowing Violence: meet me at the water, immersive video installation
흐르는 폭력: 물에서 만나요, 몰입형 비디오 설치


3-channel video (4K color, stereo).  9’ 09”. 2024










A video component of the installation is a 3-channel video, meet me at the water (2024), of which title is borrowed from the title of Kim’s poem written for the video. The video consists of distinct perspectives: high-angle shots and underwater shots of the Huron River near the artist’s residence. These represent two views: one of humans living their everyday lives, and the other of violence, which may flow beneath the surface—quietly but constantly.

The seemingly peaceful river carries faint, almost invisible traces of blood and ashes. As the voice in the video whispers and recites a poem revealing American imperialist violence in Asia, the camera begins to travel underwater, where the blood and ashes visibly mingle and dissolve into the river’s flow. The video invites the audience to feel submerged, flowing alongside these particles, and to connect with a silenced tragedy carried by the water.





Directed by Okyoung Noh
Poem by Kyunghee Kim
Filmed by Okyoung Noh, Ben Zink
Edited by Okyoung Noh
Music by Chien-An Yuan
Installation advised by Joe Rohrer
Voice by Kyunghee Kim, Leah Crosby, Okyoung Noh







Flowing Violence: and be our body, multi-sensory installation

흐르는 폭력: 그리고 한 몸으로, 멀티센서리 설치


a drink dispenser filled with water with hints of iron and smoke, blue gel light filter, fog with scent of blood and ashes. dimensions variable. 2024




The installation component of the work, and be our body (2024), features fog and drinkable water in a fountain which is commonly used in a party or celebration in the United States. Upon entering, the audience feels the fog immediately absorbed into their skin. This fog carries a layered scent of blood, smoke, bullets, and burnt ashes. The audience is encouraged to drink the water, which contains iron supplements and liquid smoke.

The subtle yet palpable hints of violence, represented through different forms of water, surround and circulate within the bodies of the audience – everyday, and therefore, inevitably. In this way, the audience becomes an integral part of the flow, sensing that their bodies are intertwined with the flow of violence.



Installation by Okyoung Noh
Scent layerd by Roland Derin Deschain
Work inspired by a conversation with Seunga You







*an excerpt of the poem, meet me at the water (2024)











Upcoming Events in 2025



Screening at Stove Work︎︎︎ (Feb 21-Jun 7)

Thesis Exhibition at Stamps Gallery︎︎︎ (Mar 21-Apr 12)

Live Performance at Duderstadt Center (May 8-9)︎︎︎







Flowing Violence: and be our body, multi-sensory installation

흐르는 폭력: 그리고 한 몸으로, 멀티센서리 설치


a drink dispenser filled with water with hints of iron and smoke, blue gel light filter, fog with scent of blood and ashes, dimensions variable, Dec 2024



<흐르는 폭력 Flowing Violence>은 한국계 미국인 시인 김경희와의 협업으로 제작된 멀티센서리(multi-sensory) 설치 작업이다. 시간과 국경을 초월하는 전지구적 물의 흐름과 연결되어 함께 흐르는 폭력을 다룬다. 한국전쟁 학살 희생자들을 태운 재, 한강에 갓난 아기와 투신하려던 할머니의 피눈물, 그리고 현재 이루어지는 폭력의 현장에서 흐르는 모든 잔여물들이 흘러 ‘우리’의 몸에 닿는 순간을 상상하도록 이끈다.


Flowing Violence (2024) is a multimedia installation made in collaboration with Korean American poet Kyunghee Kim. It invites the audience to imagine how silenced violence may flow with water, reaching the land and the bodies we live in, transcending borders and time.

The average speed of water molecules is around hundred meters per second in an open space. We are 70 percent water and about 98 percent of all the atoms in our body are replaced every year. We are in constant flow. The flow of water, the flow of life, the flow of history, and maybe, the flow of violence.


the blood and ashes of a few hundred civilian refugees, who were massacred by American armies under the No Gun Ri Bridge during the Korean War,
and ‘the tears of blood’ (피눈물) that my grandmother shed, while dragging her two babies to Han River to commit family suicide after the war,
and more


might have been dissolved into the water,
flowing from there to here, from then to now,
taken into our bodies, haunting us,

and be our body




The installation component of the work, and be our body (2024), features fog and drinkable water in a fountain which is commonly used in a party or celebration in the United States. Upon entering, the audience feels the fog immediately absorbed into their skin. This fog carries a layered scent of blood, smoke, bullets, and burnt ashes. The audience is encouraged to drink the water, which contains iron supplements and liquid smoke. These subtle yet palpable hints of violence, represented through different forms of water, surround and circulate within the bodies of the audience – everyday, and therefore, inevitably. In this way, the audience becomes an integral part of the flow, sensing that their bodies are intertwined with the flow of violence.











Installation by Okyoung Noh
Scent layerd by Roland Derin Deschain
Work inspired by a conversation with Seunga You




The Land of the Unanchored. multimedia installation
불화하는 땅. 멀티미디어 설치


sand and clay mixed with the soil from Mrs. Song’s grave, 4-channel audio with 5.1 speakers, 2-channel video with projection, dimensions variable. Oct 2024



This installation explores the lands that Mrs. Song, my deceased North Korean grandmother, lost and desired. I attempt to revisit and sculpt her "land of milk and honey" —which she has never attained—through clay mixed with soil from her grave. The audience moves around small sand hills in the space, which resemble mountainous landscapes in Korea. Four speakers buried in sand whisper stories from those who remember Mrs. Song in different ways, illegible and unanchored.


<불화하는 땅>은 작가의 돌아가신 이북민 할머니, “송씨＂가 잃고 갈망했던 다양한 땅들에 대한 이야기를 송씨의 가족 및 동료 6인과의 인터뷰를 통해서 풀어놓는 멀티미디어 설치이다. 작가는 인터뷰의 내용에 대응하며 송씨의 땅과 몸을 상징하는 점토를 손으로 힘껏 조형한다. 관객은 모래 밑에서 흘러 나오는 오디오에 귀를 기울이며 송씨의 땅을 시각화한 모래 섬들 사이를 떠돌아 다닌다.




photo by Ben Zink