ArchiType 7017 #6_37ยฐ33'19.0"N 126ยฐ58'03.4"E, 80x100cm, Archival Pigment Print, 2016
ArchiType 7017 #15_37ยฐ33'23.8"N 126ยฐ58'16.7"E, 40x50cm, Archival Pigment Print, 2016
ArchiType 7017 #19_37ยฐ33'23.8"N 126ยฐ58'25.1"E, 80x100cm, Archival Pigment Print, 2016
ArchiType 7017 #16_37ยฐ33'25.7"N 126ยฐ58'08.1"E, 20x25cm, Archival Pigment Print, 2016
ArchiType 7017 #2_37ยฐ33'24.3"N 126ยฐ58'18.9"E, 100x80cm, Archival Pigment Print, 2016
ArchiType 7017 #21_37ยฐ33'25.7"N 126ยฐ58'08.1"E, 40x50cm, Archival Pigment Print, 2016
ArchiType 7017 #11_37ยฐ33'23.8"N 126ยฐ58'17.1"E, 90x180cm, Archival Pigment Print, 2016
ArchiType 7017 #4, 450x360cm, Real-Picture Transfer Fabric, 2016
ArchiType 7017 #18_37ยฐ33'19.0"N 126ยฐ58'03.4"E, 40x50cm, Archival Pigment Print, 2016
ArchiType 7017 #14_37ยฐ33'23.3"N 126ยฐ58'09.7"E, 40x50cm, Archival Pigment Print, 2016
ArchiType 7017 #12_37ยฐ33'23.8"N 126ยฐ58'17.1"E, 175x140cm, Archival Pigment Print, 2016
ArchiType 7017 #3_37ยฐ33'23.4"N 126ยฐ58'09.2"E, 80x100cm, Archival Pigment Print, 2016
ArchiType 7017 #1_37ยฐ33'23.8"N 126ยฐ58'17.1"E, 100x80cm, Archival Pigment Print, 2016
ArchiType 7017 #17_ 37ยฐ33'23.3"N 126ยฐ58'19.1"E 37ยฐ33'23.8"N 126ยฐ58'17.1"E 37ยฐ33'23.9"N 126ยฐ58'10.6"E, 175x140cm, Archival Pigment Print, 2016




Artist Statement


All spaces and places show some element of desire. The overpass next to the Seoul Railway Station reveals the desire to live a better life in the 1970s. But this will come to an end and be remodeled into a civic park for the new desire of โ€œadvanced welfare.โ€

I wonder who such desire is for. I am curious about why only each individualโ€™s desire is left as the actual value of something disappears, be it for political ideology or hegemonism for local residents. The Seoul Station overpass has been โ€œashesโ€ although this architectural structure is obviously existent.

I feel a sense of duty as a photographer to document that which will disappear. All existing things will eventually vanish. Or, they gain a different meaning. I have captured them in my frame as they are, but this is not merely to archive them. I have been involved in photography in various ways to contain how a structure is placed in the space of Seoul, what meaning it has, and what ideology it is based on.

I first of all take photographs of structures and then rapidly apply time to those images by damaging and abandoning them in diverse ways. This is to express the process of how necessity and desire are weakened through rapid development. The secondary results are produced by scanning those damaged photos, thereby encapsulating this structureโ€™s appearance and its tarnished meaning in a photograph.


์ž‘์—…๋…ธํŠธ


์„œ์šธ์—ญ ๊ณ ๊ฐ€๋„๋กœ๋Š” 70๋…„๋Œ€ โ€˜์ž˜ ์‚ด์•„๋ณด์žโ€™๋Š” ์‹œ๋Œ€ ์ •์‹ ์˜ ๋ฐœํ˜„์œผ๋กœ, ์ด์ œ๋Š” ๊ทธ ์šด๋ช…์„ ๋‹ค ํ•˜๊ณ  2017๋…„ โ€˜์„ ์ง„๋ณต์ง€โ€™๋ผ๋Š” ์ƒˆ ์‹œ๋Œ€์˜ ์š”๊ตฌ์— ๋งž์ถฐ 17๊ฐœ์˜ ๊ธธ์ด ์žˆ๋Š” ์‹œ๋ฏผ๊ณต์›์œผ๋กœ ํƒˆ๋ฐ”๊ฟˆํ•œ๋‹ค. ๊ทธ๋กœ ์ธํ•ด ์ง€์—ญ์˜ ์ด๊ถŒ์ด ์–ด๋–ป๊ฒŒ ๋‹ฌ๋ผ์ง€๋Š”์ง€, ๊ทธ๋Ÿฐ๋‹ค๊ณ  ๊ณผ์—ฐ ์„ ์ง„ ๋ณต์ง€๋ผ๋Š” ๊ฒŒ ์‹คํ˜„๋˜๋Š”์ง€, ๊น๊นํ•œ ๋น„ํŒ์  ํƒœ๋„๋กœ ์‹œ์ž‘ํ•œ ๊ฑด ์•„๋‹ˆ๋‹ค. ์ž‘์—…์€ ๋‹จ์ง€ ์˜ค๋žซ๋™์•ˆ ํ•œ์ž๋ฆฌ์— ์žˆ๋˜ ๋ฌด์—‡์ด ๋‹จ์ˆจ์— ๋‹ค๋ฅธ ๋ฌด์—‡์ด ๋œ๋‹ค๋Š” ์‚ฌ์‹ค์— ๊ด€ํ•œ ํ˜ธ๊ธฐ์‹ฌ์—์„œ ๋น„๋กฏ๋๋‹ค.

๊ฐ€๋ฆฐ๋‹ค๋Š” ๊ฒƒ์€ ์–‘๋ฉด์ ์ด๋‹ค. ๋ฌด์–ธ๊ฐ€๋ฅผ ์ˆจ๊น€์œผ๋กœ์จ ๊ทธ ์ฃผ๋ณ€์ด ๋„๋“œ๋ผ์ ธ ๋ณด์ด๊ฒŒ ํ•œ๋‹ค. ํ˜น์€ ์ˆจ๊ธด ๊ฒƒ์— ๋„๋ฆฌ์–ด ์ฃผ๋ชฉํ•˜๊ฒŒ ๋งŒ๋“ ๋‹ค. ์„œ์šธ์—ญ ๊ณ ๊ฐ€๋„๋กœ์˜ ์ผ๋ถ€๊ฐ€ ์ฒ ๊ฑฐ๋˜๊ณ  ๊ฐ€๋ฆผ๋ง‰์ด ์„ค์น˜๋˜์—ˆ๋‹ค. ์ฃผ๋ณ€์œผ๋กœ๋ถ€ํ„ฐ ๊ณต์‚ฌ์žฅ์„ ๊ฒฉ๋ฆฌํ•˜๊ธฐ ์œ„ํ•ด ๊ฐ€๋ฒฝ์ด ์„ธ์›Œ์กŒ๋‹ค. ๊ณ ๊ฐ€๋„๋กœ๋Š” ํ…… ๋น„์—ˆ์ง€๋งŒ ๊ทธ ํƒ“์— ์ฃผ๋ณ€ ๋„๋กœ๊ฐ€ ๋นผ๊ณกํžˆ ์ฐจ ํ˜ผ์žกํ•ด์กŒ๋‹ค. ๊ฐ€๋ฆฌ๊ณ  ์ด์šฉํ•˜์ง€ ์•Š์Œ์œผ๋กœ์จ ์˜คํžˆ๋ ค ์„œ์šธ์—ญ ๊ณ ๊ฐ€๋„๋กœ์˜ ์กด์žฌ๋Š” ๋‹๋ณด์ด๊ณ  ์ค‘์š”ํ•ด์กŒ๊ณ , ์œ ๊ธฐ์ฒด์ฒ˜๋Ÿผ ์กฐํ™”๋ฅผ ์ด๋ค˜๋˜ ์„œ์šธ์—ญ ์ฃผ๋ณ€์€ ํก์‚ฌ ์ˆ˜์ˆ ๋Œ€ ์œ„์˜ ํ™˜์ž์ฒ˜๋Ÿผ ๋‚ฏ์„ค๊ณ  ๋ถˆ์•ˆํ•ด ๋ณด์˜€๋‹ค.

์ผ ๋…„ ๊ฐ€๊นŒ์šด ์‹œ๊ฐ„์ด ํ๋ฅธ ๋’ค, ๊ณ ๊ฐ€๋„๋กœ๋Š” ๊ทผ 40์—ฌ ๋…„์˜ ์—ญํ• ๊ณผ ๊ธฐ์–ต์„ ์ง€์›Œ๋‚ธ ๋’ค ์ƒˆ๋กœ์šด ๋ชจ์Šต์œผ๋กœ ๋‚˜ํƒ€๋‚  ๊ฒƒ์ด๋‹ค. ์กด์žฌํ•ด์˜จ ์‹œ๊ฐ„์— ๋น„ํ•˜๋ฉด ๊ฝค ๋Œ์—ฐํ•˜๊ณ  ํ˜์‹ ์ ์ธ ๋ณ€์‹ ์ด๋‹ค. ๋ณ€ํ•œ ๋ชจ์Šต ์—ญ์‹œ ๊ฝค ๋‚ฏ์„ค ๊ฒƒ์ด๋‹ค. ๊ทธ๋ ‡๋‹ค๊ณ  ๋‚ด๊ฐ€ ์•Œ๋˜ ๋ชจ๋“  ๊ฒƒ์ด ์‚ฌ๋ผ์กŒ์„๊นŒ? ์‹ค์ƒ์€, ๊ทธ๊ณณ์„ ๊ทผ๊ฐ„์œผ๋กœ ์‚ด์•„๊ฐ„ ์‚ฌ๋žŒ๋“ค์˜ ์ˆ˜์™€ ๋‚ก์€ ์ฝ˜ํฌ๋ฆฌํŠธ ๊ตฌ์กฐ๋ฌผ์ด ๊ฒฌ๋”˜ ์‹œ๊ฐ„๋งŒํผ ๊ฒน๊ฒน์ด ๋ ˆ์ด์–ด๋“œ(layered)๋˜๊ณ  ํ•ฉ์ณ์ง„(flatten) ์ƒํƒœ์ผ ๊ฒƒ์ด๋‹ค.

๊ทธ๋Ÿฌ๋ฏ€๋กœ ๋‚ด๊ฐ€ ํ•  ์ˆ˜ ์žˆ๊ณ  ํ•ด์•ผ ํ•  ์ผ์€, ์„œ์šธ์—ญ ๊ณ ๊ฐ€๋„๋กœ๊ฐ€ ๋ณ€ํ•˜๋Š” ๋™์•ˆ ์ง„์ • ๋ฌด์—‡์ด ๋ฐ”๋€Œ๊ณ  ๊ทธ๊ฒƒ์„ ๋‚ด๊ฐ€ ์–ด๋–ป๊ฒŒ ๋Š๋ผ๋Š”์ง€, ๊ฒฐ๊ตญ ๋˜ ์–ด๋–ค ๋ณ€ํ™”๋ฅผ ์ดˆ๋ž˜ํ•˜๋Š”์ง€, ๋น ์ง์—†์ด ๋‚จ๊ธฐ๋Š” ์ผ์ด๋‹ค.


Installation View at Artspace Jungmiso in Seoul, Korea