The essay I wrote 3 years ago (as described in part 1 of this series) was paired with a series of photographs. They were selected from my photo album containing thousands of images and combined to create a seemingly real, yet entirely imagined, impossible landscape. That the connection to a place is so dependent on the faculty of the mind, the emotions one has at the moment at the point of remembrance, and the idiosyncratic ways in which we depict it, all point to fragmentary and novel ways that our personal histories are constantly self-redefined.

To me, all these landscapes are nonetheless real. We (subjects) encounter the horizon (objects) to construct a meaning (reality); every act of rendition, regardless of medium, is a further abstraction and imagination to capture and communicate something that we have experienced. It is ontologically an act of translation.

Learning from Aby Warburg’s Mnemosyne Atlas series, those renditions themselves can be seen in relation to other artefacts to beget new meanings of those primary translations.

^{Foreground: Ithaca, NY, USA; background: Pohang, South Korea}

^{Foreground: Ithaca, NY, USA; background: NYC, USA}

^{Foreground: Hong Kong SAR; background: Ithaca, NY, USA}

^{Foreground: Yeongcheon, South Korea; background: near Buffalo, NY, USA}