In Korea, over 38,000 glass plate photographs from the Japanese colonial period in the early 1900s are preserved at the National Museum of Korea. By paradoxically adopting the very technique once used by Japan to manage and exploit our cultural assets, I re?record history that was frozen under the gaze of others a century ago. This practice symbolizes the “restoration of sovereignty in documentation.” Through the unique medium of glass plates, my work seeks to uncover their embedded meanings, reconnecting us with profound values and the true significance of liberation