Chrysalysis is the current stage of Sound Diary No.6: From Tillandsia to Nabillera, an ongoing experiential sound art project by Irene Eunyoung Lee (a.k.a. aRing). Evolving from a solitary sound practice into a complex, community-engaged artistic ecosystem, Chrysalysis embodies a phase of radical transformation—both personal and spatial—rooted in resistance, resilience, and renewal.

The term Chrysalysis fuses “chrysalis” (the cocoon in metamorphosis) with “crisis” and “analysis,” capturing the artist’s lived tension between fragility and agency. This phase follows the egg/larva stage in Hong Kong's Tillandsia in the Lost Garden (2017), where themes of rootless survival were introduced. Now situated in the semi-abandoned orchard of Bangchuk-dong, Korea, this work enters its chrysalis state, emerging through civic resistance, sonic protest, farming, and educational action.

As a multisensory practice, Chrysalysis integrates sound, text, movement, and environment—often utilizing the orchard itself as a living stage. Through workshops with students, Sonic Sanctuary experiments with the Sonic Booth, and “residency-as-healing” initiatives, the orchard becomes both a cultural archive and communal host. The artist’s daily life and art are now indivisible.

This deeply contextual phase leads toward a yet-unknown future—the butterfly stage—where a final work (possibly in a Physi-Musiking form) will emerge. As such, Chrysalysis is both a transitional moment and a call for co-creation: a fluid threshold of potential.​​​​​​​​​​​​​​​​​​