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Mask adorns, veils soul
The artist puts on the mask as an act of invocation. The body shifts from individual performer toward a vessel through which other memories may enter.
We, We Wish — Vol.1
〈설령 잊혀지더라도 지켜야 할 것을 지키는 자〉
The Tutelar Guardian of Forgotten Tales is the first completed chapter of Soojin Pray’s ongoing ritual-media project We, We Wish. It began with an artist-led dawn ritual performed and filmed at Seonbawi Rock on Inwangsan Mountain, Seoul, on January 1, 2023.
Across twelve ritual scenes, the artist works with mask, movement, breath, repetition, sound, and ritual objects. These elements function not as theatrical decoration, but as media through which fragmented cultural memory is carried, transformed, and made perceptible. The twelve scenes were later developed as digital relics and assembled into one 10-minute 45-second single-channel moving-image work.
The project does not reenact a traditional Korean shamanic ceremony. It reconfigures ritual structures through the artist’s trained body and contemporary media practice. A black unfinished mask operates as both guardian and aperture: a face for what remains unnamed, and a threshold through which memory can enter without being reduced to personal identity.
The work asks how embodied cultural knowledge may enter digital media without becoming spectacle or a fixed image of tradition. Digital media does not claim to preserve the original event in full. Instead, it carries partial traces of the ritual across different sites, scales, and viewing conditions.
The original ritual took place before sunrise at Seonbawi Rock, a site long associated with prayer and vernacular spiritual practice in Seoul. The mountain, rock, winter air, darkness, and changing light were not treated as a backdrop. They formed part of the conditions through which the work emerged.
The artist’s body moved through invocation, protection, mourning, purification, boundary, and return. Rather than reconstructing a historical rite, the performance established a contemporary structure for staying with memories and forms of knowledge that have been marginalised, unnamed, or left outside official archives.
The project consists of twelve ritual scenes. Each relic records a distinct action or threshold within the larger work. Together, they form a sequence from the wearing of the mask to the conclusion of the ritual.
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The artist puts on the mask as an act of invocation. The body shifts from individual performer toward a vessel through which other memories may enter.
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With drum and grounded stance, the body establishes resistance and protection through rhythm, weight, and breath.
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The sound and gesture of the bara mark the transformation from witness to guardian. Memory is voiced through vibration rather than speech.
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A bowl is held in stillness. The action turns from outward rupture toward listening, breath, and inward attention.
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A bell and paper-adorned ritual staff mark the consecration of space. Stillness becomes a form of vigilance and care.
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A fan passes across the mask in a restrained gesture of soothing, guidance, and relation.
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The body opens around a sustained resonance, creating a threshold between seen and unseen presence.
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Seated in stillness, the performer becomes a witness for the unnamed and unremembered.
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Red fabric cuts through the air, drawing a boundary between what must be released and what must remain protected.
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The ritual blade is held not as a weapon, but as a precise instrument of separation, clarity, and guardianship.
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Bells are raised as sound marks a passage between temporal and unseen registers.
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The ritual closes with a return. The mask remains as a trace of what has passed through the body.
The twelve digital relics were presented across twelve tablets alongside a three-hour durational performance.
Sound collaborator and performer: Tamura Ryo
The complete 10-minute 45-second single-channel moving-image work was presented on a large-scale panoramic media wall.
Selected for Circle Part.1, an international group exhibition.
10:45 · SINGLE-CHANNEL · 3:1
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REQUEST SCREENING ACCESSRESEARCH NOTE During its early development, the project explored blockchain-based provenance and digital archiving. The completed artwork is presented as a single-channel moving-image work.