The Gwangju Theatre is filled with posters, materials, characters, signs, and objects from the various films it has screened over the decades, representing, in a sense, part of the historical landscape of the city. Inspired by and incorporating this wealth of material, Aono reconstructs a series of human-shaped, three-dimensional figures of various types, scales, and poses, using everyday objects and from traces and fragments collected in and around Gwangju. These figures are then carefully integrated into the diverse spaces of the Gwangju Theatre, reinterpreting its unique environment. This process of ‘restoration’ is central to Aono’s artistic strategy. It is not a ‘simple restoration’ but, in Aono’s words, a ’total restoration’, through which he seeks to recuperate the cultural and political connotations of the place, as well as personal and collective memories associated with it. In this ‘restored’ theatre, the worlds of the films and everyday life overlap, resonate, interact, diverge, and collide. The theatre thus becomes an ‘other’ space, distinct from both the cinematic and the actual worlds, emerging in the liminal space between imagination and reality, art and life, spirit and materiality.