Full HD video | 16:9 | 14 min. | Black and white | Sound
Set in the dark vastness of a dystopian Tokyo, a young women shares her daily life with a rather strange object: a white square. For her it seems perfectly normal to carry it along walking the city or having it sitting close while being mesmerised looking at geometric pattern of brutalist architecture, echoing back that basic form a thousand times. She never seems to question the object or to feel uncomfortable by its mere presence. Rather she appears to embrace it by caressing it softly or having it close to her while being asleep.
Like in Walkowiaks work Island (2016), where final determination or conclusive understanding of what the form in itself is or what it stands for is never resolved, in Ocean the form is a given reality beyond any applied meaning. The white square creates an atmosphere of conscious presence, opening up space and time.
Ocean is the second and concluding part of diptich formed with Island. Both films are complementary and at the same time opposing parts, since there is no existence in Asian philosophy without its exact opposite: The day determines the night, as well as the emergence, the passing away of all things.
The island is the ocean. The ocean is the island.