2017 - Ongoing
Looking only at the surface elements, my works may seem different from one another. However, they are similar in that an extremely personal experience of viewing an object from a specific space is involved. While the medium of photography characteristically involves an objective record of what is seen, my works place more weight on my personal impression of a subject acquired in the process of working. This impression works as a filter in my work process and transform into an end product reflecting my attitude and senses for the subject, an image engraved with the impression. Therefore, the point of motivation for my work can only be captured through the emotional process experienced and acquired at the very circumstances of looking at an external phenomenon or the surface of an object. In this series of process involving my personal experience of coming in contact with things, I try to express a variety of experiments of metaphorically reconstructing a subject with suitable methods acquired through my unique experience. (Seulki KI)
She is a photographer. She tries to completely control what she sees. She probably knows, more than anyone else, that there is more to what is visible. Capturing the moment when something becomes visible: this is the mechanical operation of the camera. The photographer instinctively discovers this moment. The finger of the photographer presses down on the shutter towards that moment. However, in order to completely control that moment, place, light, object, and person, the photographer becomes a director. The director finds and assembles substitutes that can perform the flow of her thoughts. The director endows character to what is visible, creates relationships, reverses the flow of time, moves through space, and mediates the thought flow of the viewer. Only the photographs remain an accomplice and an evidence which accompanies and silences all of these processes. Perfectly controlled and composed, her photographs are so unfamiliar probably because such images mirror our familiar reality in which everything is manipulated. Often looking for a message from beyond reality in photographs, we discover and question the composed structure of reality within the photographs. We question what we are looking at. Her staged photographs are a portrait of our very own selves who live as completely controlled and composed images. This is an ideology that becomes even more solidified when we recognize ourselves that we know, more than anyone else, our own bare faces armed with that ideology. Even the sense of unfamiliarity in the trap of ideology is instigated by ideology itself. While one must listen carefully to the space in between the most subjective and the most objective, other social, political and cultural mechanisms surface and hinder such approach. Her photographs, which both fill and eliminate the human desires for a perfect image, fall out from the camera, put the camera down, enter the photographs and beckon us. Photographs are only made but cannot be made seen and are ingraspable; they are a trap created by humans who inevitably desire.
Gesture is a small movement of the body. It is an expression delivering the condition of the mind or feelings. While the body movement can be repeated, its meaning is expressed only once. I call this gesture. While the gesture is saying something, it’s not read as doing so, because the gesture continuously changes as it makes contact with its intended meaning or context. The gesture becomes a new language of body movement. The new language is infinitely repeated and created. The best way to forget something is to make assumptions on its behalf and deviate from the truth. Gesture approves of this deviation and makes that something forgotten. The effectiveness of gesture becomes obvious post facto. The body motion escapes to a blind spot due to our assumptions, and only the gesture remains, revived. The gesture encompasses much more than the formal meaning of the body motion. The formal content of the gesture might contain the economic efficacy for the suitability or delivery of the body motion for communication, or the elegance of its euphemistic expression. The gesture can be learned and taught, and such teaching is paradoxical and fragmentary, while on one hand, cunning and shocking. Proper gesture wises you up. Gesture is not art, perhaps, but artlike and thus has a meta-life around and about art. The failed gesture, impossible to be taught and learned, remains in a treasure chest fastened closed with a lock. If it’s successful, the gesture disappears on its own and becomes history. The gesture is not remembered and stays forgotten. It is resurrected in a certain context that stimulates it, and makes that context “relevant" again. Therefore, gesture has a strange historical appearance, as it is always fainting away and reviving.
Her name is Seulki Ki.