Working in collaboration with painter Huh Yun-hee, Jonathan Seungjoon Lee

documents a year-long practice of filming the sunrise through multiple

exposures on four 100-foot rolls of 16mm film, one for each season, with

seven separate sunrise shoots layered onto each roll. In lush, dizzying

compositions, sea and sunrise, paint and celluloid, line and color collide

in thick, vertiginous superimpositions of lilac, gold, and aquamarine.