{"id":183,"date":"2026-04-15T01:01:13","date_gmt":"2026-04-15T01:01:13","guid":{"rendered":"https:\/\/nanapang.myds.me\/wordpress\/dreaming-in-photography-1\/"},"modified":"2026-04-19T05:26:30","modified_gmt":"2026-04-19T05:26:30","slug":"dreaming-in-photography-1","status":"publish","type":"page","link":"https:\/\/nanapang.myds.me\/wordpress\/critic\/dreaming-in-photography-1\/","title":{"rendered":"Dreaming in Photography"},"content":{"rendered":"<div class=\"jyl-cargo-shell jyl-cargo-shell-entry\"><div class=\"project clear\"><div class=\"entry\"><div class=\"project_content\"><b>Dreaming in Photography <\/b><br \/>\r\n<br \/>\r\nPark, Young Taek (Professor of Kyonggi University, Art critic) <br \/>\r\n<br \/>\r\nJee-Young, Lee photographs what she wants to look at and what she imagines. She tries to reveal her current state of mind and thoughts, or what her mind and heart hold inside. She visualizes such narrative sceneries and situations which are derived from her life and various thoughts. Photography normally takes a subject that exists within nature. In fact, it is impossible to take a photograph of something that is invisible or doesn't exist; imaginations, fantasies, something that is imagined from a specific object, or something that we just wish to see. However, seeing or being seen doesn't necessarily indicate the things that can be recognized by the eye. We can see by heart, by conscious, by memories or even in the dream. To see doesn't have a limit. This is why photography can't be limited to existent objects or sceneries. Indeed, a photograph shows concrete things but it can also lead us to imagine other scenes derived from the taken objects. In addition, it can transform the familiar into the alien. To see unfamiliarly means to escape from the surface of a given object; it is to discover, recall and feel the unseen out of the seen.<br \/>\r\n<br \/>\r\nJee-Young, Lee creates the scenes that she wants to watch. Recalling the stage set or installation, her photographs wait for a climax at the moment of being taken. She constructs the space and draws and paints on it by herself. This sculpture-installation presents her psychological dramas and many other stories that imply her experiences in life. When it is photographed, it is no longer a fiction but becomes something that exists for real. It is the very moment of a photograph attesting its validity. In short, the photography of Jee-Young, Lee proves how the created image can speak for the real world. Her work can be discussed in the relation to the constructed photography or staged photography found in the works by Bernard Faucon and Sandy Skoglund; it is, so called, making-photography by removing purity or privilege of photography. This notion was born in the postmodern era when the boundaries between the photography and other visual art forms have disintegrated. Taking away the modernist strategy to record the scene straightly on the film without any manipulation, the new approach captures a synthetic world as the photographer creates a stage, directs the scenes, acts or performs in it. The photographer here is not a mere person who takes pictures, but a versatile artist who plans, directs, writes, paints, sculpts, and even performs. Thus, the conventional concepts of photography and photographer have been amended.<br \/>\r\n<br \/>\r\nJee-Young, Lee constructs a synthetic reality, performs a role like an actress on the stage, and uses mixed media of sculpture, painting, installation and performance. She tries to go beyond the existing world, images and objects and to capture what she wishes to achieve and express from the notion. It starts with her attention; dissatisfaction with the conventional representation of photography, superfluous visual culture of today and also the idea that the existing photographic method is not adequate enough to express the immense thoughts, heartbreaks and concerns she has in life. It is like starting from her awareness that a lot of images surround the real world space and, further, having a strong desire to express herself more. In addition, it also reflects the contemporary situations where we can no longer distinguish the inside from the outside, the subject from the other, the reality from the illusion, and the actual from the fictional and define the boundary between different mediums in art. Moreover, it uses the pre-existing images that we saw and experienced, or reflects our adaptation to the contemporary visual culture. It demonstrates a strong artistic desire to use photography as a dynamic narrative device to express and speak of herself through the image. This approach takes photography not as a high art or a pure medium, but as an ordinary image or a part of various visual cultures. The world is full of images and we can contact the world through them. Here, a photograph is simply one of the many images. <br \/>\r\n<br \/>\r\nJee-Young, Lee visualized her research on her identity, desires, favorites and talents and the thoughts on how to live her life; she constructed scenes and photographed them. Through her work, she deals with her situations and visualizes the various issues in there. Here, the photography is a medium of testifying, disclosing and revealing. Most of all, she questions herself, \"How do I look?\" She tries to portray herself as an individual or a member of the society, who influences and is influenced by the surroundings. Consequently, in the photographs by Jee-Young, Lee, we encounter the gloomy portraiture of the artist's conflicted and bemused self who is discouraged by much heartbreak, worries, frustration and emotional wounds but, once in a way, seems hopeful. We can also notice the troubles and anxiety she faces now as a college student, who is financially dependent and who is somewhere in between an independent adult and a minor. She visualizes the reality, or her inner scenery, or represents a psychological drama out on the theatrical stage she created. The solo character or an actress in the middle of the stage is the artist herself or another her. It is a kind of \"self-portrait\" or performance. The process takes a long time and is labor-intensive. Everything here is hand-made and the artist has to wait long for the moment of taking it in a photograph. Such painful endurance is quite masochistic and seems to provide time for healing. When a single photograph is completed, the product of such painful hard-work will be gone at once; it will be erased. And then, another situation is directed after in the same stage and again. The repetition is the mechanism the artist takes to comprehend herself better, to scrutinize the causes of hurt and to objectify the self. Here, she proves that it is hard but meaningful and necessary to observe the self as a sort of landscape. <br \/>\r\n<br \/>\r\nThe artist, who is a wild dreamer, does the things she may wish to do in her dreams, makes up the stories as she wants, and creates the scenes that we probably expect to see in a movie. Dreams heal our repressions, dissatisfaction and emotional pains of the real life. Jee-Young, Lee wants to take off the adamant boundary between the real and the non-real world. She tries to overcome the hardship and oppression in life through dreaming and imagining, where her photography or artwork stands on.<br \/>\r\n<br \/>\r\n<br \/>\r\n<b>\uc0ac\uc9c4\uc73c\ub85c \uafc8\uafb8\uae30<\/b><br \/>\r\n<br \/>\r\n<br \/>\r\n\ubc15\uc601\ud0dd(\uacbd\uae30\ub300\uad50\uc218, \ubbf8\uc220\ud3c9\ub860)<br \/>\r\n<br \/>\r\n<br \/>\r\n\uc774\uc9c0\uc601\uc740 \uc790\uc2e0\uc774 \ubcf4\uace0 \uc2f6\uc740 \uac83, \uc0c1\uc0c1\ud55c \uac83\uc744 \ucc0d\uc5c8\ub2e4. \ud604\uc7ac \uc790\uc2e0\uc758 \ub9c8\uc74c\uc0c1\ud0dc\ub098 \uc0dd\uac01\ud558\uace0 \uc788\ub294 \uac83\ub4e4, \uadf8\ub7ec\ub2c8\uae4c \uba38\ub9bf\uc18d\uacfc \ub9c8\uc74c \uc548\uc5d0 \uc788\ub294 \uac83\ub4e4\uc744 \ub4dc\ub7ec\ub0b4\uace0\uc790 \ud55c\ub2e4. \uc774 \uc11c\uc220\uc801\uc778 \uc7a5\uba74\uacfc \uc0c1\ud669\uc740 \uc790\uc2e0\uc758 \uc0b6\uc5d0\uc11c \uc5f0\uc720\ud558\ub294 \ub2e4\uc591\ud55c \uc0c1\ub150\uc744 \uac00\uc2dc\uc801\uc778 \ud48d\uacbd\uc73c\ub85c \ud3bc\uccd0 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\ubcf8\ub2e4\ub294 \uac83\uc740 \uacbd\uacc4 \uc5c6\ub2e4. \uc0ac\uc9c4\uc774 \uc2e4\uc7ac\ud558\ub294 \uc0ac\ubb3c, \ub300\uc0c1, \ud48d\uacbd\uc5d0\ub9cc \uba38\ubb3c \uc218 \uc5c6\ub294 \uc774\uc720\ub2e4. \ud558\uae34 \ubaa8\ub4e0 \uc0ac\uc9c4\uc740 \uad6c\uccb4\uc801\uc778 \uc0ac\ubb3c\uc744 \ubcf4\uc5ec\uc8fc\uba74\uc11c \uadf8\ub85c\ubd80\ud130 \ubc88\uc838 \ub098\uc624\ub294 \ub610 \ub2e4\ub978 \uc7a5\uba74\uc744 \uc0c1\uc0c1\ud558\uac8c \ud574\uc8fc\ub294 \ud55c\ud3b8 \uc775\uc219\ud55c \uc0ac\ubb3c\uc744 \ub0af\uc124\uac8c \ubcf4\uc5ec\uc900\ub2e4. \ub0af\uc124\uac8c \ubcf8\ub2e4\ub294 \uac83\uc740 \uc8fc\uc5b4\uc9c4 \ub300\uc0c1\uc758 \ud45c\uba74\uc5d0\uc11c \ube60\uc838\ub098\uc624\ub294 \uc77c\uc774\ub2e4. \ubcf4\uc774\ub294 \uac83\uc5d0\uc11c \ubcf4\uc774\uc9c0 \uc54a\ub294 \uac83\uc744 \ucc3e\uc544\ub0b4\uace0 \uc5f0\uc0c1\ud558\uace0 \ub290\ub07c\uac8c \ud558\ub294 \uac83\uc774\ub2e4.<br \/>\r\n<br \/>\r\n\uc774\uc9c0\uc601\uc740 \uc790\uc2e0\uc774 \ubcf4\uace0 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\uc0ac\uc9c4\uc774 \uc9c0\ub2cc \uc778\uc99d\uc758 \ud6a8\uacfc\uac00 \ubc1c\uc0dd\ud558\ub294 \uc21c\uac04\uc774\ub2e4. \uadf8\ub7ec\ub2c8\uae4c \uc774\uc9c0\uc601\uc758 \uc791\uc5c5\uc740 \uac00\uc0c1\uc801\uc73c\ub85c \uafb8\uba70\ub0b8 \uc774\ubbf8\uc9c0\uac00 \uc2e4\uc7ac\uc758 \uc138\uacc4\ub97c \ub300\ubcc0\ud558\ub294 \ubc29\uc2dd\uc744 \ubcf4\uc5ec\uc900\ub2e4. \uc678\ud615\uc801\uc73c\ub85c \ubca0\ub974\ub098\ub974 \ud3ec\ucf69, \uc0cc\ub514 \uc2a4\ucf54\uae00\ub7f0\ub4dc \ub4f1\uc758 \uc791\ud488\uc5d0\uc11c \uc5ff\ubcf4\ub294, \uc774\ub978\ubc14 \uad6c\uc131\ub41c \uc0ac\uc9c4(constructed photography)\ud639\uc740 \uc5f0\ucd9c\ub41c \uc0ac\uc9c4(staged photography)\uc5d0 \ud574\ub2f9\ud55c\ub2e4. \uc0ac\uc9c4 \ub9e4\uccb4\uc758 \uc21c\uc218\uc131\uc774\ub098 \ud2b9\uad8c\uc131\uc744 \uc9c0\uc6b0\uace0 \uc774\ub978\ubc14 \u2018\ub9cc\ub4dc\ub294 \uc0ac\uc9c4\u2019 \ub4f1 \uc608\uc220\uc0ac\uc9c4\uc774 \uadf8\uac83\uc774\ub2e4. \uc774\ub294 \uc0ac\uc9c4\uacfc \uadf8 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\uc544\ub2c8\ub77c \uae30\ud68d, \uc5f0\ucd9c\uc744 \ud558\uace0 \uc774\ub978\ubc14 \uc2dc\ub098\ub9ac\uc624\ub97c \uc4f0\uace0 \uadf8\ub9bc\ub3c4 \uadf8\ub9ac\uace0 \uc870\uac01\ud558\uace0 \ub098\uc544\uac00 \uc2e4\uc81c \ud37c\ud3ec\uba3c\uc2a4\ub97c \ud558\ub294 \ub2e4\uc911\uc758 \uc791\uac00\ub85c \ud658\uc0dd\ud55c\ub2e4. \uc0ac\uc9c4\uacfc \uc791\uac00\uc5d0 \ub300\ud55c \uae30\uc874\uc758 \uc0c1\uc2dd\uc740 \uc9c0\uc6cc\uc9c4\ub2e4. <br \/>\r\n<br \/>\r\n\uc774\uc9c0\uc601\uc740 \uac00\uacf5\uc758 \ud604\uc2e4\uc744 \uad6c\ucd95\ud558\uac70\ub098 \uc5f0\uadf9\ubc30\uc6b0\ucc98\ub7fc \uc790\uc2e0\uc774 \uc5b4\ub5a4 \uc5ed\ud560\uc744 \uc5f0\uae30\ud558\uac70\ub098, \uc870\uac01\uacfc \ud68c\ud654\uc640 \uc778\uc2a4\ud1a8\ub808\uc774\uc158\uacfc \ud37c\ud3ec\uba3c\uc2a4 \uac19\uc740 \uc774\uc9c8\uc801\uc778 \ub9e4\uccb4\uc640 \uc18c\uc7ac\ub4e4\uc744 \ud63c\ud569\ud558\uac70\ub098 \uc778\uc6a9\ud574\uc11c \ub9cc\ub4e4\uc5b4\ub0b8\ub2e4. \uc774\ubbf8 \uae30\uc874\uc758 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\ubaa8\uc2b5\uc778\uac00?\u201d \ub77c\ub294 \ubb3c\uc74c\uc744 \ub358\uc9c4\ub2e4. \uc0ac\ud68c \ud604\uc2e4 \uc18d\uc5d0\uc11c \uc8fc\uc704 \ud658\uacbd\uacfc\uc758 \uc601\ud5a5\uc744 \uc8fc\uace0\ubc1b\uc73c\uba70 \uc0b4\uc544\uac00\ub294 \uac1c\uccb4\ub85c\uc11c \uadf8\ub9ac\uace0 \uc0ac\ud68c\uad6c\uc131\uc6d0\uc73c\ub85c\uc11c \ub418\ub3cc\uc544\ubcf8 \uc790\uc2e0\uc758 \ubaa8\uc2b5\uc744 \ucc0d\uace0\uc790 \ud558\uba70 \uc774\ub97c \ubcf4\uc5ec\uc8fc\uace0\uc790 \ud55c\ub2e4. \uadf8\ub798\uc11c \uc0ac\uc9c4\uc5d0\ub294 \ud604\uc7ac \uc790\uc2e0\uc758 \uc0b6\uc5d0 \ub300\ud55c \ubb34\uc218\ud55c \uc0c1\ub150\uacfc \uace0\ubbfc, \ubd88\ub9cc, \uc2ec\ub9ac\uc801 \uc0c1\ucc98 \ub4f1\uc5d0 \uc88c\uc808\ud558\uae30\ub3c4 \ud558\uace0 \ub354\ub7ec \uc0c8\ub85c\uc6b4 \ud76c\ub9dd\uc744 \ud488\uc5b4\ubcf4\uae30\ub3c4 \ud558\ub294 \uc791\uac00\uc758 \ubaa8\uc21c\uc801\uc778, \ubd84\uc5f4\uc801\uc778 \uc790\ud654\uc0c1\uc774 \uc5b4\ub461\uace0 \uc6b0\uc6b8\ud558\uac8c \ud3bc\uccd0\uc838 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\ubc18\ubcf5\ud55c\ub2e4. \ubc18\ubcf5\uc744 \ud1b5\ud574 \uc790\uc2e0\uc744 \uc880 \ub354 \uc54c\uace0\uc790 \ud558\uace0 \uc0c1\ucc98\uc758 \uc6d0\uc778\uc744 \ubd84\uc11d\ud558\uace0\uc790 \ud558\uba70 \uc790\uae30 \uc874\uc7ac\ub97c \ub300\uc0c1\ud654\ud558\ub824\ub294 \uac83\uc774\ub2e4. \uc790\uc2e0\uc744 \ud558\ub098\uc758 \ud48d\uacbd\uc73c\ub85c \ubcf8\ub2e4\ub294 \uac83\uc774 \ubb34\ucc99 \uc5b4\ub835\uc9c0\ub9cc \uc758\ubbf8 \uc788\ub294 \uc77c, \ud544\uc694\ud558\ub2e4\ub294 \uc0ac\uc2e4\uc744 \ub4e4\ub824\uc8fc\uace0 \uc788\ub2e4. <br \/>\r\n<br \/>\r\n\uc720\ub09c\ud788 \uafc8\uc744 \ub9ce\uc774 \uafb8\ub294 \uc791\uac00\ub294 \uafc8\uc18d\uc5d0\uc11c \uc790\uc2e0\uc774 \ubc14\ub77c\ub294 \uc77c\uc744 \ud558\uae30\ub3c4 \ud558\uace0 \uc6d0\ud558\ub294 \ub370\ub85c \uc2a4\ud1a0\ub9ac\ub97c \ub9cc\ub4e4\uc5b4\ub0b4\uae30\ub3c4 \ud558\uba70 \uc601\ud654\uc5d0\uc11c\ub098 \ub4f1\uc7a5\ud560\ub9cc\ud55c \uc7a5\uba74\uc744 \ub9cc\ub09c\ub2e4\uace0 \ud55c\ub2e4. \uafc8\uc740 \ud604\uc2e4\uacc4\uc758 \uc5b5\uc555\uacfc \uac08\ub4f1, \ubd88\ub9cc\uacfc \uc0c1\ucc98\ub97c \uce58\uc720\ud574\uc900\ub2e4. \uc791\uac00\ub294 \ud604\uc2e4\/\ube44\ud604\uc2e4\uacc4\uc758 \uc644\uac15\ud55c \uacbd\uacc4\ub97c \ud5c8\ubb3c\uace0\uc790 \ud55c\ub2e4. \uafc8\uafb8\uae30, \uc0c1\uc0c1\ud558\uae30\ub97c \ud1b5\ud574 \uc5b5\uc555\ub418\uace0 \ud798\ub4e0 \uc0b6\uc744 \ub118\uc5b4\uc11c\uace0\uc790 \ud55c\ub2e4. \uadf8 \uac00\uc6b4\ub370\uc5d0 \uadf8\ub140\uc758 \uc0ac\uc9c4\/\uc791\uc5c5\uc774 \uc704\uce58\ud574 \uc788\ub2e4.<\/div><\/div><div class=\"project_footer\"><\/div><\/div><\/div>\n","protected":false},"excerpt":{"rendered":"<p>Dreaming in Photography <\/p>\n<p>Park, Young Taek (Professor of Kyonggi University, Art critic) <\/p>\n<p>Jee-Young, Lee photographs what she wants to look at and what she imagines. She tries to reveal her current state of mind and thoughts, or what her mind&#8230;<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":26,"menu_order":17,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-183","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/nanapang.myds.me\/wordpress\/wp-json\/wp\/v2\/pages\/183","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/nanapang.myds.me\/wordpress\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/nanapang.myds.me\/wordpress\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/nanapang.myds.me\/wordpress\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/nanapang.myds.me\/wordpress\/wp-json\/wp\/v2\/comments?post=183"}],"version-history":[{"count":1,"href":"https:\/\/nanapang.myds.me\/wordpress\/wp-json\/wp\/v2\/pages\/183\/revisions"}],"predecessor-version":[{"id":208,"href":"https:\/\/nanapang.myds.me\/wordpress\/wp-json\/wp\/v2\/pages\/183\/revisions\/208"}],"up":[{"embeddable":true,"href":"https:\/\/nanapang.myds.me\/wordpress\/wp-json\/wp\/v2\/pages\/26"}],"wp:attachment":[{"href":"https:\/\/nanapang.myds.me\/wordpress\/wp-json\/wp\/v2\/media?parent=183"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}