If you're an artist you're guaranteed to have thought about how long your work will last in the world. If you're an oil painter, chances are you're work could last hundreds of years using the right materials. If you're an installation artist, you're work could last as long as the interior you're responding to exists in that state. I've worked in both extremes as an artist; semi permanent and very fleeting work... both freeing in their respective ways. Semi permanent is freeing in knowing your reflection will influence in, one way or another, the contemporary world around you. Fleeting work is freeing in that you aren't attached to the egotistical ways of semi permanence. The less weight of critical feedback since it lasts less in our world physically. The best and most challenging concepts were when I was embracing the ephemeral nature f the art. For example, collecting branches, hastily and crudely forming a shelter and leaving it for the world to make use of or destroy. Or the embroidered street art left to the demise, recording, or unintentional collaboration with the strangers. Seung-Hwan created these photographed infused with mold and the purposeful decay is beautiful, truly. Train wrecks, extreme weather, an emotional breakdown... can be spectacles for another to witness. While this is on the lower end of the spectrum in regards to emotional fallout, the thrill of witnessing a frozen moment in the peak of the havoc created by film and mold intertwining is just as phenomenon to see.