•  Installation Shots From: Paper
    Gaiety Is the Most Outstanding Feature of the Soviet Union
  •  Installation Shots From: Paper
    Gaiety Is the Most Outstanding Feature of the Soviet Union
  •  Installation Shots From: Paper
    Gaiety Is the Most Outstanding Feature of the Soviet Union
  •  Installation Shots From: Paper
    Gaiety Is the Most Outstanding Feature of the Soviet Union
  •  Installation Shots From: Paper
    Gaiety Is the Most Outstanding Feature of the Soviet Union
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Jinkyun Ahn

Born in Korea, Republic of. Lives in: London
Royal College of Art

In order to touch upon the imageless substance that lies behind the boundaries of my vision, I attempt to transcend the surface of images. This exploration begins with the image of where my parents lie, as that spot is a definite threshold on the boundless map of life. Photography allows the images of my parents to be reflected, repeated, dismembered and irresistibly contained within its square frame. This square frame occludes my vision, leading to a sense of isolation. Indeed, this particular order of photography demonstrates how I am able to walk fearlessly on the surface of images.

Artist photo

Artist Picture


Work of art I would like to make

At Gwangju, a city in Gyeonggi-do province in South Korea, there exists an empty plot that prepared by my parents for their after-life. The plot provides an image of death that will be fixed eternally in the landscape, as well as, within my mind. This image allows me to ascertain my position, both physically and relationally imparting on me the duty, as a son, to confront it for the rest of my life.

In my photographic process, the positioning and deployment of the photographic instruments reflect the inherent power structure of the empty plot. In my previous projects, this order is reenacted in other places, such as within a constructed virtual cave and my parents’ living room. By juxtaposing the image of death to these various settings, the structure of the empty plot is repeated, thereby diminishing the significance of it.

For New Sensation, I will enhance the merger between the life of the living room and the death of the empty plot to examine the distance or closeness of the two opposite ends. The intrusive nature of photography will be employed to create a cut, through which a channel can be built between the two opposite worlds. And again, photography will secure my position behind the lens, allowing me to contemplate the view as a mere spectator.


My Artworks (6)

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