the evil deeds of killing. The rotten, standing water of the Four Major River Project continues to flow into the river. These are evil doings; the ecosystem of the sea is destroyed under the name of the National Project of the Saemangeum development; the urbanism of artificial nature is promoted as an utopia while degenerating into a capitalist colony; people destroy sacred mythological sites for tourism, saying it will upgrade our quality of life; the authority that encourages a life confined in the structure of an apartment is
also an doing evil. “Evil doing (作惡)” is a building of evilness and a raising of evilness. This evilness raises animality, and an animality that grows reveals this evilness. This is the world of the Jena(ego). Like how the shamans of Tungus wear a crown of deer horn and dances, the artist dances in a tight white suit. The ancient shaman’s dance comes to OAK Jungho, becoming a jump. Perhaps between his dances, the ego of ‘OAK Jungho’ is freed from the clothes of the ego and become the Eolvit. I believe that a symbol lies in the subjecthood and existence of the “tight white suits.” Otherwise, the “non-existing him” is the Eolvit — without the clothes of an ego, and only in the state of the Eolvit the “white existence” of tight white suits exists. The site of the well, the tree of life, and mṛgadāva are the places where the ego of animality transforms into the
Eolna(眞我, True Me) of divinity as the flash of the Eolvit bursts
out. Interestingly, OAK Jungho uses these sites, that might have
been ancient sacred places in the past, as the concrete realities of today, recognizing that the existence of a Eolna, paradoxically, does not discard the “real world.” The paradise of Buddha lies in this world, and the heaven of Jesus is on this earth. Buddha land is here upon my feet, and the ‘heaven’ of Jesus can be built right here. Religious scripts state this fact. Owned by Art Institute of Chicago, Altarpiece from Thuisonles-Abbeville: The Ascension (1485) depicts the scene of “Jesus ascended to heaven.” The ascending Jesus leaves footprints on the top of a mount of olives, reminding us of Buddha’s foot sculptures – made in an early era when the statue of Buddha was prohibited. 7