A Flower Which Can't Even Be Seen: Excavating Footprints begins with the last sentence of the Yi Sang's poem, "Cliff". Im Sun-goo has been working on things that exist next to our lives, but that suggest that only the scent remains and cannot be touched, and will soon disappear. In this exhibition, the artist finds that the act of attracting scattered things is in contact with the speaker's movements searching for invisible flowers. Therefore she assumes the SeMA Storage as a single screen and attempts to utter it by arranging elements that have always existed inside and outside her drawing in three dimensions.

The Exhibition Hall 4, where drawings reassembled from fragments are installed in the form of a tunnel looks like it's separated from a wooden grid to greet the visitors. Drawings facing each other function as an entrance and exit to the world of the artist's story that spread out in the SeMA Storage, which becomes closer and farther away as you step. 

The Exhibition Hall 5 is constructed so that you can step on the floor of the paper and look at the hanging drawings from various perspectives, like flying around the ceiling and wood. Space production that reveals flexibility and variability induces free roaming and interpretation of visitors. At the same time, they are asked to hold their judgment until the specific form is revealed, and to re-recognize their position again. A Flower Which Can't Even Be Seen: Excavating Footprint hints at the potential of flowers that cannot be seen anywhere in the exhibition hall but must exist, allowing the visitors  to experience a multi-layered story journey.