Page 49 - PHOTODOT 2017년 9월호 VOL.46 Sept

The work of <Mother-of-Pearl> recognizes the beauty and value of
traditional Korean lacquerware and it is meaningful to introduce it into
the work, but it is worth to change the format of the photography. In
the history of photography, it is rare that either the frame considered
to be more important the picture or display the photograph as the
secondary. I wanted to carry out certain experiments in these areas.
As with art, it is important to have new challenge and experiment in
the photography, parting from its existing format. It is also the art
that values are recognized in these changes. For me, the new task is
adventurous and experimental, and simultaneously interesting and
anticipatory. Because I selected the photographs according to the
distinguishing designs and colors of the frames, it does not have
edition numbers of the photographs. Every work is unique. The forms
and colors of the frames are outstanding with their decorative points.
The contents of the work may not look much different from the ones
that have been used in the past, but there are many differences in the
format.
Mother of Pearl 18.archival inkjet print.52x121cm pair.2017
You are a professor of photography. Do you think the position
of Korean photographers and photographs are in the certain
positions in the global art market?
I participated in a portfolio review of the International Photography
Festival in Birmingham, the UK in 2004. Until only a few years ago,
photography was a frontier of art, and it was surprising that there were
photographs at the center of contemporary art and became objects
of collection. At the time, I was poorly prepared to participate in the
portfolio review coincidentally. Nonetheless, the result of the review
of the black and white photographs that I brought was not bad. And
in two years, I prepared the portfolio properly and participated in the
same review. In relation to these participations, I was able to hold solo
exhibitions in Shanghai and New York. Those two reviews provided me
with eyes to see what the world photo market is like, where the position
of Korea and I stand, and what kind of work I need to do to compete
in the world. It was practically difficult for the individual to participate
in the global market since there was very little support from the
government, and not enough information about advancing to overseas
before. In the current photography market, Compared to Chinese and
Japanese photographers are already positioned in the top class, Korean
photographers' penetration is still far less. I think the opportunity to
enter the world is still wide open to Korean photographers.

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