Lijung



Copyright 2010

보는 것이 믿는 것이다_01
Seeing is believing_01/ The person series
2013
우리가 바라보는 것들에 대한 의심

The process of forming an image through a camera lens is similar to the process how our eyes recognize images (The meaning of 'image' which is used in this situation is identical with the former one.). But we encounter many situations we feel certain about the feelings and emotions we received momentarily from images. Being not asking and not wondering about the nature and the habit of objects, we build an imagery wall to block furthermore communication. We could see the nature of the objects by the time and the effort we spend to find, but without any efforts, it becomes solid, and it's often called a 'misunderstanding'.

There is a clear difference between teenagers and thirties. But twenties are the people who face on rapid change through everything. They're the groups of students, soldiers, workers, parents, and CEOs. Teenagers would be divided into students and workers, and thirties would be divided into workers, parents, or the unemployed. Although twenties live in a mixed status of both teenagers and thirties, they don't seem like they're perfect grownups. For example, the ghost-killing Marine Corps pose as manly as possible they can when they're taking a picture, with solid military caps and being in a military, but every one of them, in their twenties, still resembles a boy. Every student and every worker in their twenties face the same phenomenon. It forms an interesting point that the image a one wants to form and the image the one's being seen by the nature and the others is different. I photographed, mixed, and relocated people with these three rules.



25 young people, Photograph, Variable size, 2013

10대의 대부분이 학생의 신분, 30대의 대부분은 직장인이라는 것과 달리 20대는 학생, 군인, 주부, 직장인 등 직업과 생활 스펙트럼은 굉장히 광범위하 다. 특히, 현 재의 신분이 무엇이냐에 따라 사회의 시선은 매우 달라진다. 사랑스러운 눈빛이 증오로 변하기 십상이며, 비호감도 호감으로 만들어주는 효 과가 있다. 30개의 사진 중, 몇 개는 사진 속 동일인물의 생활 속 한 장면과 설정된 상황에서 각각 촬영한 것이다. 동일 인물이 섞여 있고 거짓 정보가 있 는 사진들이 있지만 관람객들은 이를 ‘사실’로 단정 짓고 바라보았다. 나는 이러한 화면을 통해 ‘우리는 어떠한 눈으로 인물을 바라볼 것인가’에 대한 질문을 던지고 싶다.