Installation view of 《Boundaries of Epoché》 ©Photo Art
Museum Hanmi presents Seungwon YANG’s solo
exhibition, 《Boundaries of Epoché》, until July 20, at the Museum Hanmi Samcheong Annex, as part of the
24/25 MH Talent Portfolio program.
MH Talent Portfolio is a collaborative
initiative that works with photographers in their 30s and 40s. Through an open
call, six selected artists are matched with and supported through timely
programs such as solo exhibitions, duo shows, international p reviews, and
photo book publications.
Installation view of 《Boundaries of Epoché》 ©Photo Art
Selected for a solo exhibition, Seungwon
YANG has explored the transformative possibilities of images through
photography and digital media—using techniques such as compositing, rendering,
and three-dimensional manipulation. Having continually explored the boundaries
between reality and illusion, truth and fiction, he aims through this
exhibition to dispel the illusion of fixity and objectivity often associated
with photography, instead presenting its fluidity and mutability as something
to be experienced sensorially.
The title of this exhibition, ‘Boundaries
of Epoché,’ is derived from the phenomenological concept of ‘epoché’, which
refers to the suspension of judgment in order to perceive an object as it is.
For YANG, ‘boundaries’ are not fixed lines, but fluid states that flow between
the real and unreal, the moments before and after change. The artist invites
viewers to pause their assumptions about photography and images, and to engage
more intimately with what is presented before them. This notion of boundaries
is closely connected to personal memory, which forms the foundation of YANG’s
photographic practice.
Installation view of 《Boundaries of Epoché》 ©Photo Art
Like images, memory is continuously
reshaped—enduring, altered, or even forgotten through social experience and
environmental conditions. YANG visualizes this sense of fluidity through water
as a motif—a substance whose state shifts in response to its environment.
Flowing, containing, and pausing, water becomes a metaphor for the mechanisms
of memory and image—perpetually forming and recombining.
In the exhibition, YANG presents
photographic installations in which images of water are printed onto aluminum
panels, then physically crumpled by hand and transformed into sculptural
objects. The exhibition invites viewers to drift among the sculptural images
and surrounding space, engaging bodily with the fluid and mutable nature of
memory and image.
