Floating Body, 100x80cm, Archival Pigment Print, 2018

Summertime in 1952, 138x110cm, Archival Pigment Print, 2018

Dear my Father, 110x138cm, Archival Pigment Print, 2018

Phobia, 80x100cm, Archival Pigment Print, 2018

Standing with 3 feet, 80x100cm, Archival Pigment Print, 2018

Doom, 138x110cm, Archival Pigment Print

Torso for my father, 138x110cm, Archival Pigment Print, 2018

Torso for Soldier, 138x110cm, Archival Pigment Print, 2018

hermaphrodite, 50x40cm, Archival Pigment Print, 2019

Sincere Pagoda, 110x138cm, Archival Pigment Print, 2019

Meaningless Tower, 138x110cm, Archival Pigment Print, 2018

Installation View_Goeun Museum of Photography, Busan, Korea, 2020





μž‘μ—…λ…ΈνŠΈ <μ½”μΈμ‹œλ˜μŠ€>

λ‚˜μ˜ ν• μ•„λ²„μ§€λŠ” μ „μŸ λ…Έλ¬΄μžμ˜€λ‹€. κ΅­κ°€μ˜ 뢀름에 응닡해 총도 없이 μ§€κ²Œλ₯Ό λ©”κ³  μ „μŸ λ¬Όν’ˆμ„ 날라야 ν–ˆλ˜, 민간인도 ꡰ인도 μ•„λ‹ˆμ—ˆλ˜ μ‚¬λžŒ. 미ꡰ듀은 그듀을 κ°€λ¦¬μΌœ μ§€κ²ŒλΆ€λŒ€(A Frame Army)라고 λΆˆλ €λ‹€. μ•„λ²„μ§€λŠ” ν• μ•„λ²„μ§€μ˜ μ£½μŒμ„ β€˜μ „μ‚¬β€™λΌκ³  ν‘œν˜„ν•˜μ…¨μ§€λ§Œ 사싀 κ·ΈλŠ” μ „μŸ 톡에 μ£½μ—ˆμœΌλ‚˜ μ‹Έμš°λ‹€ λŒμ•„κ°€μ‹  것은 μ•„λ‹ˆμ—ˆλ‹€.

λ‚˜λŠ” ν• μ•„λ²„μ§€μ˜ μ£½μŒμ— κ΄€ν•œ λ¦¬μ„œμΉ˜λ₯Ό μœ„ν•΄ λ°©λ¬Έν•œ ν•œ μ„¬μ—μ„œ κ°―λ²Œμ— κ°‡νžˆλŠ” 일을 κ²ͺμ—ˆκ³ , μž‘μ—…μ€ κ·Έ κ²½ν—˜μ—μ„œ μΆœλ°œν–ˆλ‹€. μ‚Άκ³Ό 죽음의 κ²½κ³„μ—μ„œ λŠλ‚€ 감정을 ν• μ•„λ²„μ§€μ˜ 상황에 λŒ€μž…ν–ˆκ³  이λ₯Ό μ‚¬μ§„μœΌλ‘œ μ΄¬μ˜ν–ˆλ‹€.

ν• μ•„λ²„μ§€λŠ” β€˜μ² μ˜ μ‚Όκ°μ§€λŒ€β€™λΌκ³  λΆˆλ¦¬λŠ” κΈˆν™”μ§€κ΅¬μ—μ„œ λŒμ•„κ°€μ…¨λ‹€. λˆˆμ•žμ— μžˆμ§€λ§Œ ν†΅μ œκ΅¬μ—­μΈ 탓에 발 λ””λ”œ 수 μ—†λŠ” 곳이닀. ν• μ•„λ²„μ§€λΌλŠ” μ‘΄μž¬λ„ 마치 닿을 수 μ—†λŠ” λΉ„λ°€ κ°™μ•˜λ‹€. μ–΄λ Έλ˜ μ•„λ²„μ§€μ˜ λͺ‡λͺ‡ κΈ°μ–΅ μ™Έμ—λŠ” 할아버지 개인의 삢을 μž¬κ΅¬μ„±ν•  정보가 거의 μ—†μ—ˆλ‹€. κ΄€λ ¨ 기관에 λ¬Έμ˜ν•΄λ΄€μ§€λ§Œ, ν• μ•„λ²„μ§€λŠ” μ „μŸ 톡에 λŒμ•„κ°€μ‹  μˆ˜λ§Žμ€ μ‚¬λžŒ 쀑 ν•œ 뢄에 λΆˆκ³Όν–ˆκ³  λ‹€λ₯Έ 기둝을 찾을 수 μ—†μ—ˆλ‹€. κ΅­λ°©λΆ€μ—μ„œ νŽΈμ°¬ν•œ λ…Έλ¬΄μžμ™€ κ΄€λ ¨λœ λ…Όλ¬Έκ³Ό μ „μŸ λ‹Ήμ‹œ 미ꡭ의 κΈ°λ°€λ¬Έμ„œ, 미ꡰ이 μ΄¬μ˜ν•΄ 기둝으둜 남긴 내셔널 μ•„μΉ΄μ΄λΈŒμ˜ 사진 등을 톡해 κ·Έλ•Œ λ²Œμ–΄μ§„ 상황을 κ°€λŠ ν•΄λ³΄κ³ μž ν–ˆλ‹€. 할아버지 개인이 μ•„λ‹Œ λ…Έλ¬΄μžλΌλŠ” μ‚¬νšŒμ  μ‘΄μž¬μ— κ΄€ν•œ μ•„μ£Ό λ―Έμ•½ν•œ μ •λ³΄λ‘œλ‚˜λ§ˆ ν•œ 개인의 삢을 μž¬κ΅¬μ„±ν•΄ λ‚˜κ°”λ‹€.

그리고 할아버지λ₯Ό κΈ°λ¦¬λŠ” λ‚˜λ§Œμ˜ μ˜μ‹μ„ μΉ˜λ €λ‹€. 할아버지, ν˜Ήμ€ λ…Έλ¬΄μžμ˜ 흔적을 μ«“μœΌλ©° 찾은 μž¬λ£Œλ“€μ„ λͺ¨μ•˜λ‹€. 미ꡰ의 폭격μž₯으둜 쓰인 κ³³μ—μ„œ μˆ˜μ§‘λœ 탄피, κ·Έ λ‹Ήμ‹œλΆ€ν„° μ§€κΈˆκΉŒμ§€ λͺ¨λ“  것을 λͺ©κ²©ν•œ 채 묡묡히 μΉ¨μ‹ν•΄κ°€λŠ” λ°”μœ„ 쑰각, μ™Έλ”΄κ³³μ—μ„œ 썩고 μžˆλŠ” λ‚˜λ­‡κ°€μ§€, 총 λŒ€μ‹  등에 멘 λ…Έλ¬΄μžμ˜ μ§€κ²Œ λ“± 할아버지λ₯Ό κΈ°μ–΅ν•  λ§Œν•œ 물건을 쀍고 였브제λ₯Ό λ§Œλ“€μ—ˆλ‹€. 그것을 쀍고 μŒ“κ³  λ§Œλ“€κ³  μ°λŠ” 과정은 잊힌 쑴재인 할아버지λ₯Ό λ‹€μ‹œ ν˜„μ‹€λ‘œ 호λͺ…ν•΄λ‚΄κ³  μ „μŸμ΄λž€ 큰 역사에 묻힌 개인의 μž‘μ€ 역사λ₯Ό λ‹€μ‹œ μ‚΄λ €λ‚΄λŠ” μΌμ΄μ—ˆλ‹€.

이 μž‘μ—…μ€ λ‚΄ κ°€μ‘±κ³Ό λ‚˜μ˜ 삢에 λ‚΄λ‚΄ λΆ€μž¬ν–ˆλ˜ 할아버지λ₯Ό, 기껏 슀물 남짓에 μ΄μœ λ„ λͺ¨λ₯Έ 채 μ£½μ–΄κ°„ ν•œ μ‚¬λžŒμ˜ 삢을 κΈ°λ¦¬λŠ” μž‘μ€ μΆ”λͺ¨μ΄μž ν–‰μœ„μ΄λ‹€.





Artist Statement

My grandfather was a war worker. He was neither a civilian nor a soldier, but he had to carry war materials with an A-frame carrier instead of a gun, answering the call to defend the nation. The US Army called the unit made up of such people the β€œA-frame Army.” My father defined my grandfather’s death as β€œkilled in action.” In fact, he did indeed die during the war but he was not killed in combat.

I was trapped by a mudflat while on an island I visited to research the death of my grandfather. My work has derived from this experience.

My grandfather passed away in a district of Geumhwa called the β€œIron Triangle.” As it is a restricted area, nobody is allowed to set foot there even though we can see it with our eyes. His existence is like a mystery waiting to be unlocked. There is little information to reconstruct his personal life save for some of my father’s memories. Although I contacted the relevant institution to enquire about my grandfather, there were no records on him: he was one of countless others who were killed in the war. I tried to gauge the situation of that time through theses concerning war workers compiled by the Ministry of Defense, confidential documents from the United States, and photographs taken by the US army and housed in the National Archive. I have managed to reconstruct an individual’s life despite the dearth of information on the social being of war workers, not just individuals.

I created a ritual to pay tribute to my grandfather. I collected materials and objects pertaining to his life as a war worker. I collected any articles that were available to remember him by (such as empty shells gleaned at a bombing training range, shards of a rock that had been eroded in silence while witnessing everything from that time to the present, rotten boughs at a secluded site, and a Korean A-frame that a worker once carried on his back instead of a gun) and made objects with them. The process of gleaning, stacking, making, and photographing these articles helps to call to mind my grandfather who was forgotten in reality and breathe new life into an individual’s short history that was buried beneath the grave history of war.

This work can act as either a remembrance or an action to pay tribute to my grandfather who has been absent in my family and my life, or as someone who died around the age of 20 without knowing why he had to die.