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[b]racket December 2012

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Hee Yun Kim

Vedi Djokich



18 22 26

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Park Jin Hyeon

Kang Hwhan Yeup

*cover photo

Kim Woo Jung

Editor’s Letter Welcome back! Third time’s a charm, and we think our number three [b]racket issue is no exception. You will find there is a lot more in store for art fans between these 32 pages. November has been a great month for us at [b]racket magazine. We are happy to say we have seen a big increase in both the number and quality of art submissions. With this sudden inflow we are also receiving an impressive variety of work. We hope our December issue reflects the growing diversity we want to present throughout the lifespan of [b]racket. This month we have our first sculptures (Kim Woo Jung p. 18-21), and some very unique mixed media with an incredible back-story, made from unconventional materials (Vedi Djokich p. 14-17). There were so many difficult decisions we had to make when putting this month’s magazine together. It’s the first time we’ve opted to include only five artists in order to give each contributor two full spreads of space for their work. Our hope is that each piece has more space on the page, which translates into more detail for the reader. Our written content continues to evolve as well. Sharon Reichstadter remains an asset to [b]racket, and has included an interview with Vedi Djokich this month with subject matter that is as intense as it is insightful. Kang Hwhan Yeup and Park Jin Hyeon’s self-authored texts are at different ends of presentation: Kang’s snippets of sparse prose hover near his illustrations; Park fills the space around his photography with personal ideas on Islam. Juxtaposed in the middle, is Kim Woo Jung’s work which speaks for itself, with the aid of no printed words at all. And if Kim’s pages are short on text, they are unmatched by our lack of words for expressing gratitude to everyone in this community. The support for [b]racket from artists, the media, and our dedicated sponsors make this publication possible. Thank you all. As 2012 comes to a close, we look forward to seeing what new and inspirational art will fill our pages in 2013. Greg Laychak Designer

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Issue 3 December 2012


Jess Hinshaw [editor] Greg Laychak [design] Chris Cote [managing editor]



Hee Yun Kim Vedi Djokich Kim Woo Jung Kang Hwhan Yeup Park Jin Hyeon Sharon Reichstadter


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Find [b]racket magazine in these fine establishments: The Holy Grill Horus Music Garage Urban The Pollack Buy the Book 쟁이 (Jeng iy) Havana Barbarella McGuire’s Daegu Art Museum Organ Bar Home Syo Gallery Bongsan Culture Center Dropp Red Consent S-Dot Doyo Gullivers Hami Mami’s |

Hee Yun Kim Hee Yun Kim, also known as Jackyln Kim, holds a bachelor’s degree in fine arts from Inha University in Incheon, South Korea. She is currently pursuing an MFA stateside at Minneapolis College of Art and Design. Before that she studied studio art at the University of Colorado through a study abroad program. While trekking the globe and augmenting her credentials, Kim has kept busy with multiple selfpublications in comic art – her true vocation. Kim’s current works focus on motifs and symbolic figures that have appeared in her previous paintings and drawings: the majority of which spotlight the human figure in various echelons of despair and isolation. By reworking these figures, Kim illustrates the inner problems that humans face as she perpetuates the theme of “personal dystopia” – in other words: fearful, dehumanized lives. Kim explains, “It is …about human anxiety and fear that we …feel anytime for any reason …without any rational explanation.” This dystopia is a common thread in Kim’s perspective and emphasizes the large and looming burden of humanity as she sees it. In She, for example, Kim’s drawing conveys a worried frenzy of thoughts expanding from a woman’s head in tandem with the figure’s despairing eyes. Kim’s keen sense of private tragedy

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continues in Building – a veritable hell. Three isolated scenes unfold: First, a murder is in process on the roof, atop what can only be assumed are two framed figures mid-malfeasance on the third floor. The raveling destruction continues in the form of flames issuing forth from below. All of this takes place while an outsider ascends the adjacent stairs, seemingly oblivious. Kim says she aims “to show how …disconnected people are … [from] each other,” and how individuals making decisions further complicate an already painful existence by making life “basically unpredictable.” Surely Building exemplifies the detachment that Kim strives to express through her work. Kim references the “depth and texture” of Hans Holbein’s line drawings as well as the British street artist, Banksy’s, “ability to create narratives in mundane places” as two of her main inspirations. She also cites Linkin Park as a form of inspiration, not only because she is an avid fan, but because some of the band members themselves are artists and “apply art … [to] their music.” Kim has shown her work in several group exhibitions since 2008 in both Korea and the U.S. In the future, Kim will continue to pursue a career as a graphic novel artist. [b] 

Sharon Reichstadter

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Vedi Djokich 14  [b]racket December 2012


“ T h bombeen a truck xploded .”

ear F*cked is a body of work that Canadian-born artist, Vedi Djokich, has been amassing for the last two years. The series revolves around the theme of fear and anxiety and was created in response to the 2011 bombing and mass shooting that took place in Norway. More specifically, the Sh*t Head portraits (4 paintings which are part of the Fear F*cked series) portray the terrorist, Anders Behring Breivik as a faceless, putrid bust. It is interesting to note that Djokich used both his own blood and horse dung (infusing new meaning into the term ‘shit head’) to complete these portraits. Earlier this year the Fear F*cked series exhibited in Norway, where Djokich previously lived; Djokich currently lives in Seoul (his fourth stay in Korea). Even with the European exhibits, Djokich is focusing on Asia and is looking forward to showing more of his work in Korea in the coming year. Sharon Reichstadter What inspired the Fear F*cked series? Vedi DJOKICH Fear F*cked was a personal and cathartic outlet, a way to symbolically and visually depict anxiety, the repetitive nature of negative thoughts, fears, and self doubt. I was living in Norway last year and one day we headed out to Oslo. We were walking down a street, along the backside of a government building, putting up stickers and enjoying being in the city. Yet there was this unexplainable, eerie silence in the air. Then a truck bomb exploded. The expansion and instant pop of pressure, loud shaking, and huge panes of shattering glass instantly surrounded us followed by more

noise and confusion. In a second, things shifted. The building that we were standing in front of sheltered us from shrapnel; one or two feet in either direction and things would have been different. SR Why were you in the vicinity of the bombing in Oslo on July 22, 2011?

VD Directions from a random stranger put us on that street, at that moment. If just one variable had been different, these words would not be here now. The impact of one stranger can change all of our lives instantly, drastically, and permanently. It is a scary realization that what we strive to build and control in our lives, can vanish in a second. Things are random, unpredictable and whether you choose to believe it or not, they are out of our hands. SR The Sh*t Head portraits contained in this body of work are particularly interesting. Why turn the terrorist into the subject? VD The Sh*t Head portraits were a protest against the attack in Norway, and also the lenient justice system. How could someone who murdered 77 people (mostly children) be sentenced to a maximum of 21 years in prison? It is a travesty. His actions represent how personal fears can manifest into unimaginable actions. SR Why the fear in Fear F*cked? VD The fears that we choose to believe and tell ourselves through repetitive self talk can thoroughly exhaust us mentally, emotionally, and physically.

They can begin to dominate our world and slowly transform us into unrecognizable versions of ourselves that are not only alien to us but also to the people around us. We can begin to question our choices in life – who we were in the past and who we believe we are now. We turn into insecure and fragile shells of ourselves – people who react instinctively, wanting to run and hide to avoid the judging eyes of strangers. This utter confusion eats away at every aspect of our lives, paralyzing us. Worst of all we are painfully aware but unable to change our thoughts and actions, until all our focus is wrapped up in this continuous cycle of fear. SR Finally, what mediums did you use to create this series and what was your process?

VD My work is a combination of mediums: screen-printing, drawing, painting, photography, video and a bit of sculpture. Overseeing every aspect of the creative process is important to me – from the concept, to selecting raw materials, up until the finishing stages. The Sh*t Head portraits incorporated the use of my blood in the screen-printing process as well as horse dung. Working with organic materials that change so rapidly is really challenging. The smells, the transitions of color and texture from their wet to dry states, and the continued oxidization are all very fascinating. You can view the video on my site documenting the process of creating these portraits. [b] Sharon Reichstadter

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Kim Woo Jung

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Kang Hwhan Yeup

Self portrait

나... 허점투성이... 내가 노력하는 이유.

Lost love

사랑 어느 하나 아름답지 않은 것이 있을까요? 다만, 놓친 사랑은 상처가 됩니다.

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Horizontal relations 혈연사이, 부부사이, 연인사이, 친구사이, 직장동료사이, 클라이언트와 우리사이, 경쟁사이...

이런 관계사이는 같이가는, 서로 바라보며 가는 사이.

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Fear, another ecstatic

창고나 다락방 같은 공간, 미지의 공간이며 약간은 공포스런 공간으로 기억됩니다. 기대하지 않는 기대(?)를 하는, 그런 공간이기에 두려움 이면에는 또 다른 희열이 생기나 봅니다.

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Park Jin Hyeon

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녕하세요. 제 이름은 박 진현 입니다. 저는 현재 경일대 사진영상학부 2학년에 재학 중 입니다. 아 직 전공을 정하지는 않았습니다만, 보도사진과 순수 사 진 중 선택할 생각입니다. 제가 사진을 시작한 이유는 고등학교 때 사진작가, 즉 포토그래퍼 라는 그 자체가 저에게는 매우 열정이 느 껴지고 전문적이 직업이라는 이미지가 저에게 있었습 니다. 하지만 사진을 공부하면서 수 많은 작가들의 작업 들을 보았고, 제가 추구해야 될 사진이 무엇인지에 대하 여 알았습니다. 제가 제일 좋아하는 작가는 부르스 데이 비슨입니다. 부르스 데이비슨의 작품들은 그 만의 아주 특이한 감정을 가지고 있습니다. 저는 그의 작품들을 보

고 있으면 다큐멘터리 적 특성과 더불어 우리 인간들의 모습에서 해학적 감정을 찾아내어 기록하는 듯 합니다. 그의 작업들을 보고 있으면 나도 모르게 입가에 미소가 지어지게 되는 것을 느낍니다. 제가 추구하고 있는 사진 또한 부르스 데이비슨과 마찬가지로 다큐멘터리라는 틀 속에서 인간 자체의 모습들을 해학적으로 표현하기 위하여 노력하고 있습니다. 다큐멘터리 사진가 혹은 패 션사진가 혹은 순수사진가 등등 분야는 모두 다르지만 모든 사진가에게 있어서 가장 중요한 것은, 자신의 작업 에 사진가 자체의 특성이 묻어나는 것이 가장 중요하다 고 생각합니다. 그리고 내가 이것을 통해 무엇을 보여주 고자 하는지가 잘 나타나야 된다고 생각합니다.

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About Islam

제가 이슬람에 대하여 찍게 된 계기는 우리 한 국에 있는 종교에 대하여 작업을 하기 시작하면 서 부터입니다. 제일 처음에 불교에 대하여 작 업하였고, 두 번째로 천주교에 대하여 작업을 하였습니다. 그리고 마지막 세 번째 작업이 남 았었는데 기독교와 이슬람교가 남았습니다. 저 는 이 두 종교 중에 무엇을 할지 고민을 하였고 사실 기독교는 우리나라에서 많은 비중을 차지 하고 있는 종교이지만 이슬람교는 소수의 한국 이민자에 한해서만 가지고 있는 종교입니다. 그 만큼 비중이 매우 적다고 할 수 있습니다. 또한 이슬람교 자체의 이미지가 세계적으로 좋지 않 습니다. 이슬람의 무장 세력들 때문에 뉴스에 서는 자주 테러에 대한 이야기가 흘러 나왔습니 다. 한국뿐만 아니라 영국 또한 이슬람이민자로 인한 국가적 손실이 심각하다고 이야기가 나오 고 있으며, 위에서 말한 이슬람의 무장 세력들 때문에 이슬람에 대한 편견이 매우 심합니다. 제가 촬영을 가기 전 저의 친구에게 이슬람교를 촬영한다고 말하니 저에게 농담으로 몸조심 하 라고 말하였습니다. 이 같이 이슬람에 대하여 수많은 사람들이 편 견을 가지고 있으며 이슬람교 전체를 무장 세 력으로 바라보는 편협한 시각을 가지고 있습니 다. 저는 이러한 편견을 가지고 있지 않았고, 제 가 사진에서 말하고자 하는 것은 그들은 우리와

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똑같은 사람이라는 것입니다. 그들도 눈 코 입 을 가지고 있으며, 그들도 즐거움을 느끼며, 기 쁠 때 에는 입 꼬리가 올라갑니다. 그들은 자신 들의 종교의 교리에 철저하며, 그들은 우리들을 타 인종으로 생각하여 편견의 시선으로 보고 있 지 않다는 것입니다. 그들은 제가 카메라를 들 고 촬영을 갔을 때 미소를 지으며 저에게 먼저 다가와 손을 내밀며 악수를 청하여 주었습니다. 저는 그때부터 긴장이 풀리면서 셔터를 누르기 시작하였습니다. 그들은 촬영에 대하여 거부감 을 가지고 있지 않았고, 제가 단지 조심해야 했 던 것은 이슬람의 종교의식이 시작되었을 때입 니다. 종���의식은 그들에게 있어서 아주 신성한 것이었고, 저의 셔터소리가 그것을 방해 하는 것 같았습니다. 제가 찍었던 사진 중 가장 좋아하는 사진은 아웃 포커싱을 통하여 잡아낸 얼굴로 카메라를 정면으로 바로보고 있는 사진입니다. 제가 그 사진을 통하여 말하고자 했던 것은 “이봐, 우리도 너와 같은 사람이야!” 라는 메 시지입니다. 이렇듯 우리에게 현재 가장 필요 하다고 생각하는 것은 차별을 없애는 것입니다. 예전 보다는 인종차별과 종교적 차별이 많이 사 라졌지만 아직까지 남아 있으며, 현대사회에서 가장 중요한 것은 타인을 그 자체로 존중하는 것이라고 생각합니다. [b] Park Jin Hyeon

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Park Jin Hyeon

Kang Hwhan Yeup

Kim Woo Jung

Vedi Djokich

Hee Yun Kim

[b]racket Magazine December 2012