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1971 /

Seongyeon Jo
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Seongyeon Jo (b. 1971) meticulously observes objects that have shared her everyday space-such as flowers and fruits-and captures them in her still-life photography series still alive. Through this project, she contemplates and explores the concept of "still-life photography." Her subjects range from old neighborhoods and buildings awaiting demolition to abandoned furniture, untrimmed trees, roadside blocks, and street pavements-all elements that draw her gaze and become the focal points of her photographic frame.
 
Recently, the artist has been working on making her photographic works unique. In fact, she has long been engaged in eliminating the multiplicity of photography by various means-through directing the photographic process, installing photographed objects within physical spaces, and extending the photographic frame into an object itself. The threads that often appeared in her still-life photographs now transcend the piece of image, moving between the front and back of the photograph, inside and outside its frame. The colored threads and lines in her works resemble shadows in the image, dust on old wooden panels, or graffiti on walls. They create optical illusions, appear as reliefs on the printed surface, extend beyond the frame, and quietly sway-connecting the photographic space with the environment.
 
 

Through his still life series project still alive, in which he delicately observes objects, flowers, fruits, etc. that have been living together in his everyday space and captures them on film, Choi contemplates and researches the frame of 'still life photography'. Old neighborhoods, buildings about to be demolished, abandoned furniture, untrimmed trees, street trees, and blocks of sidewalks become the subjects of his still-life frames.
Recently, the artist has been working on making photographic works with editions unique. In fact, the artist has been working on erasing the plurality of photography through the process of directing and shooting, the format of installing the photographs in a space with objects that appear in the photographs after shooting, and extending the frame that holds the photograph to the objects. The threads that appear in the staged still life photographs move inside and outside the space of the printed photographs, in front of and behind the photographs. The colored threads and lines in the work appear like shadows in the photograph, like dust on an old board, like graffiti on a wall, like a part of the photograph, creating an optical illusion for the viewer, appearing as reliefs on the print, or dangling out of the frame and swaying silently, connecting the space of the photograph to the exhibition space.

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