Introduction
This body of work captures the obscure part of the real world that is not seen as it is. Is the world really the way it is seen? Do I see this world with genuine meaning of “seeing”? No matter how stable the world may look, it just doesn’t seem solid to my eyes. Though it may not be an artificial universe, the scenery made by objects surrounding me sometimes looks like a facade. It is the obscure things that look like something.
An apple that would be good for food, and would be a delight to the eyes only seems to be so. “Something like it” does not necessarily mean “something itself”. Our representational attitudes that incline towards seeing an object as reality already have a problem of existence in that the object is something that “has been there”. I often see and know this as that, and vice versa. There is a crack between interpreted real world and existing world. Falsehood is also one of forms that exists between apparently existing world and my eyes that cannot identify it as it is.
The world appears to me as an obscurity and boundary between neither this nor that, neither real nor fake, neither the living nor the inert. The relationship between a reality and an illusion is not on a one-to-one correspondence, but an overlapped one. And the overlap is the reality of the world that I see.
Because the saying “the medium is the message’’ has something in common with a thought of Régis Debray that the object of transmission and the mechanism of its transmission do not constitute separate continents, photography as a medium helps me at this point. What I have seen through a camera lens is a reality; but what remains in the photo is an illusion. Photography allows us to overlap between reality and illusion.
Photography does not clear up what the fact is. But it depends on the viewers to verify the reality. is not to identify the facts between them, but to show the subtle layers of the act of seeing that capture irregular narrative varying from how and what the viewers see.
Although I sometimes use analogue devices such as dotted plastic wrap by putting them before a lens or use reflection, mirrors when taking photos, they are all taken as they are lying there without any computer manipulations. Selecting ambiguous space that looks as if it has been staged, living creature that look as if they are dead or images contrary to them, and things with conceptual lying, I visualized the gap between ‘existence’ that actually exists and the ‘reality’ shown to me. I I am doing visual games to step out of our fixed way of seeing, exposing or overlapping layers of this and that.
In a novel , although a two-dimensional straight line could hear voices from three dimensions, it could not understand what rising and falling mean. You cannot completely see the three-dimensional ‘Space’, unless you step out of your ‘Line’. There are things that we can see only if we get out of fixed way of seeing. Feeling doubts on things seen from the world with photography as a medium, I aim to find other possibilities of world beyond my attitude that sees the thing that has been there as if it were anchored.