Sea Art Fastival 2023 Artist

J.R. Carpenter
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Text about the artist.

J. R. Carpenter is an artist, writer, and researcher, who is best known for her projects exploring place, displacement, migration, and climate. Working across performance, print, and digital media, Carpenter’s digital poem “The Gathering Cloud” won the New Media Writing Prize 2016. Her hybrid print-digital project This is a Picture of Wind was listed in The Guardian’s best poetry books of 2020 and was featured in the Digital Storytelling exhibition at the British Library in 2023. Carpenter is a Research Fellow working on original research that addresses cultural histories and data cultures of wind, Wind as Model, Media and Experience, at Winchester School of Art, University of Southampton.

Tomo Kihara
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Text about the artist.

Tomo Kihara is an artist that creates toys for thought—experimental games and interventions that draw out unexplored questions from people through play. He has collaborated with organizations like Waag Futurelab and the Mozilla Foundation on various projects. Kihara’s recent projects were nominated for a S+T+ARTS Prize in 2021 and exhibited at the Victoria & Albert Museum in 2022.


2023, Aluminium, reflective sheets, Up to 350×180cm. Physical signs commissioned by Sea Art Festival 2023. 2021-2023, Web based augmented reality application.

Climate change can sometimes feel far away and distant in both space and time, but what does it take to pay attention? THIS IS NOT A GOOD SIGN is an augmented reality (AR) poetry project and site-specific installation by J. R. Carpenter & Tomo Kihara. The web-based augmented reality component of the project uses AR to overlay the user’s surroundings with 3D-modeled signage posing questions about past and present climatic conditions. ‘Why is the sky so blue?’, ‘Has it always rained?’ These signs call attention to the small changes in the climate already occurring all around us, inviting playful responses. THIS IS NOT A GOOD SIGN was originally commissioned by Now Play This, a festival of experimental play design, in 2021. New signs have since been created responding to the specific themes of exhibitions at the Digital Design Weekend at the Victoria & Albert Museum in London, and the Everything Will be Fine exhibition in Berlin. ‘Time rivers under us.’, ‘It’s fine.’ For the Sea Art Festival, Carpenter & Kihara have created five new physical signs, with texts in Korean and English, which respond directly to the environmental conditions of Ilgwang Beach. Together, these signs form a poem: sea rises early. air falls heavily. here wind lives. swift ground shifts. salt seeps into our dreams. Experience these signs in person on Ilgwang Beach, or through the web-based AR app ( anywhere in the world.


물고기 입맞춤 제이알 카펜터 & 토모 키하라

하이퍼콤프ㅣ10분 13초ㅣ드라마
작품 설명

포레스트 커리큘럼은 남아시아와 동남아시아를 잇는 삼림지대 조미아의 자연문화를 통한 인류세 비평을 주로 연구합니다. 작품 유랑하는 베스티아리는 이 연구의 일환으로, 비인간적 존재들이 근대 국민국가에 내재된 계급적이고 세습적인 폭력과 그에 따른 잔재들에 어떻게 대항해왔는지를 보여주는 작품입니다. 좌중을 압도하는 듯한 거대한 깃발들은 위태롭고도 불안하게 스스로를 지탱하고 있는 듯 보입니다. 깃발에는 벤조인이나 아편부터 동아시아 신화에 등장하는 동물들까지 비인간 존재들을 상징하는 대상들이 그려져 있습니다. 각 깃발들은 비인간적 존재들의 대표자로서 모두가 한데 결합되어 아상블라주 그 자체를 표상합니다. 또한 깃발들과 함께 설치된 사운드 작품은 방콕과 파주에서 채집된 고음역대의 풀벌레 소리, 인도네시아의 경주용 비둘기들의 소리, 지방정부 선거를 앞두고 재정 부패를 유지하기 위한 수단으로 쓰이는 불필요한 공사에서 발생하는 소음, 그리고 위의 소리들을 찾아가는데 사용된 질문들과 조건들을 읽어 내려가는 내레이션으로 이루어져 있습니다.

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