soochin cho

"vegetable garden" is the second part of a series called FUSION – VISION. the garden motive is a counterpart to the more urban feel of the first part and represents a vision of a commodity that is produced outside of the logics of capitalistic exploitability.


hohean jang


dolls and taxidermised animals are inanimate references to living entities. as complementary parts of hohean jang's hybrids, they reinforce the notion of death. at the same time the hybrid models seem to suggest a way to deal with death by portending a mythological dimension. the fact that dolls and taxidermised animals are both products of human intervention and culturally/scientifically formed phantasies introduces a dimension of violence that denies a peaceful approach to death.


kangseok kim


animals, plants, and clothes, made out of aluminium foil create a tension that can be traced back to the opposition of the artificiality of the material, aluminium foil, and the choice of nature-related motives. despite the realism as a result of masterful craftsmanship, the material characteristics of aluminium foil evoke kitsch instead of naturalism.


yongseok oh

'panic rooms' are ambivalent spaces. on the one hand they are designed as a safe space, to which it is possible to retreat to in case of danger. on the other hand it is a manifestation of a possible or soon-to-come threat. yongseok oh's 'panic room' series depicts private and public spaces that hold the possiblity of danger and offer a new perspective on panic as a state of reflection.


brian hunter


"pretending to care"video confessions of fathers through the mouths of public figures like pablo picasso, francis bacon, bob marley or salvador dali – brian hunter's video work combines their animated faces with fictional narratives appropriated from online video confessions by real fathers. having public figures talk about intimate situations is a strategy to bridge the gap between their powerful representations and a way to relate to them as role models