Fold, Hexagonal presents the impossibility of entering into the language of others and suggests the ways in which such an exclusion can open up a space of imagination around words. This space of imagination includes the visual and bodily experiences of language as well as the physical space that writing occupies. The “Hexagonal” of the title alludes to the infinite hexagonal rooms featured in Jorge Luis Borges's short story “The Library of Babel” and also evokes an open-ended linguistic space. The project features hexagonal forms staged on folded, lined paper, reflected and fragmented by multiple mirrors that alter their directions and dimensions and suggest the ruin of Borges's library. Sentences describing the folding, reflecting, and refracting of lines, diagonals, squares, rectangles and hexagons are written with English letters forced into squares designed for Korean syllabic blocks. These form grammatically correct but scarcely legible forms whose process of inscription slows the apprehension of their meaning. What Walter Benjamin calls “pure language” is imagined here through a process of translation that is always a becoming, a translation that follows the unending continuation of a fold.

中文翻译：

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六角形折叠

六角形的折叠提出了进入他人语言的可能性，并提出了这种排除可以在单词周围开辟想象空间的方式。这种想象空间包括语言的视觉和身体体验，以及写作所占据的物理空间。标题的“六角形”暗示了豪尔赫·路易斯·博尔赫斯（Jorge Luis Borges）的短篇小说“通天塔图书馆”中所描绘的无限六角形房间，还唤起了一个开放式的语言空间。该项目采用六边形形式，摆放在折叠的横格纸上，被多个镜子反射和破碎，这些镜子改变了方向和尺寸，并暗示了博尔赫斯图书馆的废墟。描述线条，对角线，正方形的折叠，反射和折射的句子，矩形和六边形上用英文字母写成正方形，专门设计用于韩语音节块。这些形式在语法上是正确的，但几乎不清晰，其铭文过程减慢了对其含义的理解。沃尔特·本杰明所说的“纯语言”是在翻译过程中一直想像得到的，翻译过程始终是一种折衷，是一种伴随无休止的折痕的翻译。