 My first impression about Israel was something tense, through people and through the corner of the street. Everything seems to be not relaxed, so I didn't know what it was. But when time passes, I begin to understand what it's about. I traveled mainly to the West Bank and the Negev Desert. I traveled a lot between Jerusalem and Jericho. And then I made a lot of pictures in between. There's some maladmin, and some ruins, and the Bedouin cemeteries. So maybe the most part I produced a lot was that area. I did research, but it didn't help me actually when I photographed. And then I found the most interesting image in the middle of nowhere, unnamed road. Process is very different between what I did in Israel and what I did in other places. Usually when I go on the trip, I didn't push myself to make a picture. I went there to see what the landscape was about. If I feel like to photograph, I bring out the camera. But here I went to Israel to make a picture, and then I didn't choose the place. So from the beginning, I had a little pressure that I had to express something and produce an image. And then also I made an exploratory mission for 10 days. And then it helped in a way to understand Israel. However, that was not the way I usually work. Too much information to me. So in the beginning, I couldn't avoid complicated thought about the place while I'm facing the land with the camera. But I made a four-times trip and then later on I began to avoid all the information and then all my first impressions about Israel. I could be a little bit freer later on, but it still remains in my photograph. My process is my own technique. I make a print on the Korean mulberry paper with liquid light and then create some kind of texture, almost like skin. I think it creates some kind of encounter between the viewer and the landscape or object where I photograph. So I let people feel through something beyond the image itself. So in this project, I could control both in the dark room in a very primitive way, and then also I could control the tone on the computer. I'm very satisfied with what I came out, made it. My work is about this place in Israel. However, people would feel Jung Jin's place. And then also at the same time, I want people to see our place. So I hope to deal with some kind of eternal presence through the object or landscape. So I want to share our emotions. It's not just about Israel or the people, the life in Israel. It's a fundamental emotion we all have. So I always hope that the people understand my work without seeing the caption or description. That's my hope.