We begin to sense the vitality of a being only when its size resembles our own—when we can recognize its organs, its structure. In the hands of a farmer, however, a seed is not merely a unit, but a living entity, each bearing its own singularity. This quiet recognition of individuality echoes in the Korean phrase “to receive seeds” (ssi-at-eul bat-da), a term that carries a dual meaning. On the surface, it speaks of labor, of turning seasons, of a life shaped by repetition. But looked at differently—from within that life—it becomes a phrase of creation. It speaks not of labor, but of embodiment; not of repetition, but of existence itself taking root.

Seol Suan’s two-channel installation Sigapsi continues the exploration begun in her earlier films, which documented farmers who collect and preserve native seeds. “Sipapsi“ is a regional Korean term for seeds, and farmers who possess many varieties are affectionately called Sipapsi grandmothers or grandfathers. 

Channel 1 presents sculptural, extreme close-ups that convey the sheer presence of the seeds themselves. Channel 2 follows three Ssigapsi elders—Yoon Gyusang, Oh Sebong, and Jang Gwideok—as they harvest varieties like coiled pumpkin and yellow perilla. The being of the seeds is set in parallel with the human actions that care for them, creating a quiet meditation on the coexistence of human and nonhuman life. The installation itself takes the form of a cozy room modeled on a Sigapsi’s home, complete with wooden chests for storing seeds and annotated notes introducing unfamiliar native varieties.

Moments of encounter with life, captured.

• ProducerSEOL Suan
• Screenplay SEOL Suan
• Cinematography SEOL Suan
• Edit SEOL Suan
• Production Design SEOL Suan
• Sound SEOL Suan

SEOL Suan

suanseol@gmail.com​