A U.S. military photographer, at the age of 18, is assigned during the Korean War to take

document images of bridges connecting areas between the north and the south. On the

Thanksgiving dinner table the descendants of the survivors of the war finish eating the cooked

flesh of a large turkey. Bones and cartilage congeal on the plates. The innards of the animal

leak liquid onto the bottom of the dish. Happy cartoons of Indians and Pilgrims are printed on

napkins strewn across the table. Oil and pink blood mix.The Korean War veteran brings out an

album unopened for over 30 years. He shows images, taken during regular trips, of a village in

ruins. A ghostly blur of a woman wearing traditional dress is captured in mid air as a U.S. soldier

in uniform throws her over his shoulder. She is suspended in this movement. Without face or

body. On the other spread of the album is the blurred portrait of the unknown Korean woman.

Behind her on the mud brick home are the stenciled spray painted English words written by the

U.S. Military “OFF LIMITS”.

Below the images, in golden ink, the then 18 year old war veteran draws a cartoon of a baby in

a bundle. Above are the words “I don’t care how heavy the baby is”.

The series of performances, videos, and drawings seek to speak to the

faceless woman engaging the traces, remembered and imagined, of witnessing the images. The

moments within the peninsula at this time. Familial and larger.