For the late Korean artist Suki Seokyeong Kang (1977–2025), art was a method of measuring how the individual inhabits the world. Spanning painting, sculpture, installation, video, and choreography, Kang's research-driven practice drew on a distinctly Korean artistic genealogy—from the Jeongganbo, a fifteenth-century grid-system of musical notation; to the hwamunseok, a reed mat used in Chunaengmu, a traditional one-person court dance; to jinkyeong sansuhwa, or "True-View" landscape painting. Across these references, Kang returned again and again to the Korean concept of jari—denoting "place," "seat," or "territory"—to explore the space afforded to the individual within society.

In Mountain—hours, this exploration unfolds as an immersive installation comprising aluminum mobiles accompanied by the sound of poems recited in Korean by the artist. The work transforms the gallery into a surreal, kinetic terrain. Hovering at varying heights or gently grazing the floor, the mobiles rotate in conversation with the room's invisible air currents. Constructed from bent and hammered aluminum, their dented surfaces catch the light, evoking mountain ridges, the sun and moon, and the human form—opening up the space like an ink-and-wash painting with its colors inverted.

The installation invites the viewer to traverse what Kang understood as a jinkyeong, or "True-View" landscape: one that is not merely seen, but felt through the passage of time. Breathing with the viewer along invisible currents of air, the works fill the spaces between them with a shimmering resonance. The title itself holds a double meaning: "hours" marks the cyclical passage of time that pervades Kang's practice, while its homophonic echo of "ours" suggests a collective space of shared experience and mutual belonging.