[fade]Life-Size Physical Linkage, 2015

・Lithographic film(リソグラフィック フィルム)
・Cyanotype print(サイアノタイプ プリント) , Self-made      negative film(自作ネガフィルム) 
    -1,810 cm × 90 cm

 - 2015 Exhibited at PG show of the University of the Arts     in London, UK
 - 2015 Ehibited at Leyden Gallery in London, UK[/fade]

[fade]This cyanotype work was made to embody five essences of my photography, which is "Oblivion Terror" "Craving for Existense" "Physical Linkage" "Impermanence" "Physical Photography"

Oblivion Terror : human-being have met with the Oblivion Concept after acquiring thinking through the Congnition Revolution. 
Craving for Existense : this is one of three types of Taṇhā (cravings) identified by the Buddha. This craving is for immortality and trace of oneself after death
Physical Linkage : I believe that the elementary particles of light which once "touched" the subject that I wish to preserve remain on a light-sensitivity surface such as a silver plate, a glass and a film sheet, and I have called this Physical Linakge.
Physical Photography : I have called analogue Photography "Physical Photography" as a retronym to compare with Digital Photography. Physical photography get aged with time and gives us an opportunity to experience impermanent beauty. 
Impermanence : Life is impermance. This is also a relvent word in Buddhism.

My initial motive for making this cyanotype was to get my exact life-size physical linkage, which means, in other words, I have suffered from the craving for existence. There is nothing different between ancient people and modern people. Photography is the best ever invention for filling this craving.
I intentionally made digital noise-like cracks throughout the print. It feels that my existence is being deleted. It was all for letting modern people totally relying on the digitalised society "Life is impermanence." In addition to that, I hope this cyanotype print will get aged beautifully and give the next generation an opportunity to experienece "impermanent beauty".[/fade]

[fade]Shutter Released, 2013 ~ On-going

 - 2015 Exhibited at PG show of the University of the Arts in London, UK
-  2015 Ehibited at Leyden Gallery in London, UK

People nowadays produce a lot of photographs believing that this is necessary. Usually people just keep these photographs digitally and end up forgetting their existence.

I was pleased to give the participants in my project a chance to take an unusual self-portrait. It is very simple. My idea was that by the subjects holding a shutter release cable and taking their own pictures, the subjects would have autonomy and an authorship of their images that supersede the photographer. In other words, this would strengthen the photography's essential feature, the power of assuring the referent's existence. It would also affect an impression that they have when they look back at those photographs in their futures.

Unfortunately, there were many victims of the Great East Japan Earthquake 2011 who lost their photographs taken over the previous ten years because they were only kept digitally. Although most of the photographs in their digital devices disappeared, many physical photographs such as prints were saved.

Now, photography (our memories) is at a crisis point.

This project is on-going. If you are interested in participating this project, please feel free to send me a message. 

These photographs were made using slide film. I will eventually give theses slides to the people in the photographs thus connecting them with their Physical Linkage.[/fade]

[fade]Oblivion Terror(망각공포), 2015

Wet Plate Collodion Ambrotype(습판사진, 암브로타입)

(EN)
 - 2015 Exhibited at PG show of the University of the Arts      in London, UK
 -  2015 Ehibited at Leyden Gallery in London, UK
 - 2016 Exhibited at Glen Echo Photoworks Gallery in             Washington DC, US

(한)
 - 2015 런던예술대학원 LCC 졸업 전시회, 런던, 영국
 -  2015 Ehibited at Leyden Gallery in London, UK
 - 2016 Glen Echo Photoworks 익스비션, 워싱턴 DC, 미국[/fade]

[fade](EN)

“Oblivion Terror Management” underpins my photography. When the Great East Japan Earthquake occurred, most people lost everything and were desperate to find their photographs. Many victims of the earthquake began to wash the mud out of their retrieved photographs. I believe this is because of the true power of photography that assures the referent’s existence, which in this case would mean that their lives’ consistency would be assured. Consistency is substances gathering together. Each substance corresponds to an experience. Experiences can never be memories until something is suggestive of the experience, bringing it back into one’s consciousness. Thus, when people lose their photographs, people cannot help but regard this as losing the referent itself. Human beings recognise an experience A as a memory after ‘experiencing’ the experience A. Photographs can be suggestive. Experiencing the past presence in a photograph is the essential feature of photography, which strengthens life’s consistency.

This wet plate collodion photograph is my very first successful shot in my life. It dose not only represent “Physical Linkage” but also expresses “Oblivion Terror” by the shadow that is about to overwhelm me in the photograph from the right bottom.[/fade]