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

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