Tremolo is a series of installation works that explores the tensions and contradictions arising from contemporary shifts in identity and geographic boundaries. Through a transformation of material language, the artist deconstructs the notion of “border” as a site where power and memory intertwine, revealing the fluidity of communities and the reorganization of spatial narratives under postcolonial conditions.

The title Tremolo, borrowed from a musical term describing the rapid and subtle repetition of a single note, evokes a sense of trembling and rupture. This sonic metaphor becomes a conceptual framework for the instability and multiplicity of borders—mirroring the fluid dynamics of identity, space, and entangled affiliations.

The work comprises four large-scale transparent specimen cases. Each installation incorporates a rich array of materials: soil, botanical samples, translated archives, paper-based embroidery, textual collage, and geopoetic records. These transparent structures allow for varying perspectives, inviting viewers to shift between the roles of observer and participant. The act of embroidery —piercing paper through repetitive gestures—echoes the in-between, suspended, and unfinished state of identity as it oscillates between being defined and self-defining. The resulting rhythmic lines and pulsating symbols form a visual language of borders in flux: woven, severed, erased, and reassembled.

Soil, as the primary material substrate mixed with paper pulp, symbolizes the ambiguity and continuity of land. Inherently without borders, soil becomes a political entity when named and divided. It flows and accumulates—linking people to land while simultaneously signifying rupture, displacement, and re-rooting. Here, soil is not merely a natural element but a carrier of culture and identity, questioning how nations and geographies construct “the other” through both matter and ideology.