RS-#001, 150 x 202cm, Digital print, 2012



RS-#001, 150 x 202cm, Digital print, 2012, detail

RS-#002, 150 x 215cm, Digital print, 2012

RS-#002, 150 x 215cm, Digital print, 2012, detail

Like languages, visual images are often used as symbols to convey meaning. Photographs, in particular, are the closest representation of symbols used in society because photographs can virtually turn actuality into reality. At the same time, photography is a medium that records events taking place at a particular time and in specific settings. From family photos to face pictures used in IDs, every photograph involves capturing the moment. Even if it is used as a recording medium by the most ruthless power or regime, photography never fails to evoke compassion. This potential for duality in photography constantly collides throughout my works.

Seung woo Back

Dimension Finder 005, Photographic Print, 2007, Edition of 5

Dimension Finder 022, Photographic Print, 2008, Edition of 5

Dimension Finder 011, Photographic Print, 2007, Edition of 5

Project - Dimension Finder photographs

In Tractatus Logico•Philosophicus, Ludwig Wittgenstein said “the limit of my language means the limit of my world.” It means that our ability of conception stays under the linguistic limitation. For example, a person who is thinking with 100 words is hard to understand a person who is thinking with a thousand words.

The person with 1000 words lives in a different world than the person with a hundred words. It means that the range of understanding the knowledge and world depends on his language. A person who does not know ‘love’, ‘overflowing’, and ‘the world’ will never understand ‘the world of overflowing love’. He can not understand the meaning even though the world is overflowing with love, because there is no such a concept in his mind.

In a word, his world is confined and dark like in a well. Knowing a language deeply appears in a different type in the photo series of Dimension Finder and it is ‘seeing the world that can not be seen’. It is to give the enhancement of thinking to the viewers. It is a ‘drawing the limit in the distance’ as Wittgenstein said and in other words, enlargement of conception range. The enhanced conception does not stop there but rather enlarges its range continuously. The driving force is ‘curiosity’. Knowing is connected to another knowing. The development of thinking continues without stopping as long as it is started.

Beomsik Won

Jalouse Magazine April 2012



Ina Jang graduated with a BFA in Photography in 2010 and recently completed her studies in the MPS Fashion Photography Program from the School of Visual Arts.

Her works have been shown in numerous galleries and festivals internationally, including the Empty Quarter in Dubai, New York Photo Festival and Tokyo Photo 2011.

Over the past two years she has been nominated for seven different awards, including Print Magazine’s 20 Under 30 and Flash Forward 2011.

She was a Foam Talent and a finalist at the Hyères Festival 2011 where she returned to exhibit commissioned fashion assignment this year.

Her works have been published in The New York Times Magazine, Dear, Dave Magazine, British Journal of Photography and Time Magazine's Light Box.

Ina currently resides in Brooklyn, New York.

Ina Jang

To death, From the series 2010 , C-type Print, 160cm x200cm

Bordering North Korea #1  2008, c-type-print,  h: 102 x w: 127 cm / h: 40.2 x w: 50 in

Bordering North Korea #15 2008, C-Type-Print , h: 102 x w: 127 cm / h: 40.2 x w: 50 in

Only god knows 2010, c-type print, diasec, h: 136 x w: 170 cm / h: 53.5 x w: 66.9 in

Lee Jung was born in 1972 and currently lives and works in Seoul, Korea returning to Korea upon completed her M.A. in Photography from the Royal College of Art, UK. She also received her B.A. with honors in Photography from Kent Institute of Art & Design, UK and a B.A. with honors in Mass Communication & Journalism from Kyung Hee University in Seoul, Korea. Lee Jung most recently participated in 2010 Gwangju Biennale “10,000 Lives” under the direction of Massimiliano Gioni, the contemporary Korean photography exhibition “Chaotic Harmony” at the Museum of Fine Arts (Houston) and “Writing Paintings, Painting Words” at the Seoul Museum of Art.

Lee Jung



Corolla , archival pigment print

A study on the texture and form of flowers, rather than its colors.

Corolla is a series documenting the natural beauty of flowers by strictly studying texture and form, rather than focusing on color. A lot of my work has a concentration on nature and the outdoors but this was the first time where I brought the outdoors in and had full control of my surroundings. I wanted to photograph this series to show all the subtleties in the forms of flowers. When these flowers are stripped of color, there is a different sense of beauty conveyed through these gems of nature.

Daniel Seung Lee is a young photographer based in Los Angeles, CA who is just starting his photography studies at at the Art Center College of Design in LA.

Daniel Seung Lee

Sandy Kim is a photographer who lives in San Francisco. Kim uses various point-and-shoot cameras purchased at thrift stores, from Yashica T4s to Olympus Stylus Epics to her favorite Contax T2.

As an extension to Ryan McGinley's interview in this month's issue of Dazed & Confused, the photographer picks out his best-loved images by Sandy Kim, his favourite photographer from the current crop of young American talents.




Here are a few press photos I took for the band GIRLS. Their new album father son holy ghost is amazing.

Sandy Kim

Archisculpture 008, 2012, gelatin silver print, 180 x 120cm, edition 10



Archisculpture 006



Archisculpture 003

René Descartes claimed that on the whole, the design of the architecture built by one master is more beautiful and perfect than that of buildings by many architects. However, the purpose of the Archisculpture Project is to make a gigantic sculpture with a variety of building design characteristics by many different architects. This project could be described as a collage of a ‘Phantasmagoria’ that was discovered by Flâneur’s view of metropolis.
If there is the Punctum on photography, parts of architectures I chose here would be my real Punctum, and the fabrication of these forms artworks of the Archisculpture Project. Within this project, a variety of architectural elements are reborn as a gigantic and historic new sculpture. Therefore, this project is quite symbolic. The Archisculpture Project makes new stories, connecting every meaning of architecture, or makes comments or proposals by dismantling a cityscape, rather than just being beautiful as an artwork.

Beomsik Won







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