I greatly concentrate on the most familiar image one could recognize, oneself through one’s own eyes. As I pondering on the image, on or of myself, I think of Freud, and his concept of the uncanny. I thought it refer a slight ‘difference’ between the scene I see on my retina in my eyeball and whatever things really exist beyond the optic sense; things which I can’t actually define existence. So I think there is unrecognized fear about uncertain presence of oneself. In the course of considering above idea I also thought about a role of photography in this issue as one of media that I’ve lived with more than decade. Photography can’t reveal this ‘difference’ but, in my works, on the contrary, it can bind things that we think they are not together. In other words, It makes a symmetrical point of correspondence with the ‘uncanny.’
Traditional image making, darkroom printing, even modern image making, the digital darkroom, fail to create a physical ground where viewers can consider ontological entities. These forms of image making merely express a visual space, an optic plane. I try to interact with that visual space by making secondary documentation through physical object manipulating in front of myself with camera. To accomplish this I insert the ridiculous, for example pink boards, life size photographs planted in the ground, and figures that resist gravity- into the frame. While this introduces an element of humor to the work it also generates an image in which the picture is more than what rests on the surface of the photograph.
In each trial, each project, I introduce optical, physical and social alterations that works to operate between myself (the photographer), and my subject; in doing so I begin to realize what I see in front of me and how the recognition functions. As I step away through obvious absurdness of my working process and its photo-documentative product I know I am working towards the solutions I seek- how and why I exist.