Artist statement

Kim Sae-hyun is the nephew of artist Ryu Hyunmin. After his birth, Sae-hyun spent his early

childhood living with the artist and his family. To the artist, Kim Sae-hyun is more than just a

nephew; he is also a brother, a son, and at times, a friend. Driven by his deep connection, the

artist chose to photograph Sae-hyun. Although the project began as family photographs inspired

by genuine familial love, due to his role and status as an artist, his pure intention of making

ordinary photographs of his family has been interfered with during the process of the project. The

artist was aware that the resulting photographs would be considered and consumed as art, and

thus could not ignore the implications arising from the premise.

For the artist, the idea of a typical family photograph has become a sort of utopian ideal. He finds

himself navigating the unattainable realms of art and his daily life. Consequently, Kim Sae-hyun

exists in his work as a subject of emotional attachment that evokes personal feelings, a figure

situated within a broader social context that requires interpretation, and a subject reflecting his

evolving artistic stance throughout the project.

These various interpretations influence one another, causing unpredictability about the future

direction of his work. Without strict planning, he progresses reactively. The ongoing changes in

Sae-hyun's growth, the shifting dynamics between Sae-hyun and the artist, and the transformation

of the artist's perspective are all pursued within the framework of the project that is not just a

single, cohesive narrative or atmosphere. All of those elements suggest that the viewers expand

their interpretive possibilities through the interplay of the narratives.

The artist explains his approach by comparing Western and Korean food cultures. In Western fine

dining, meticulously crafted dishes are presented in a linear order, emphasizing the chef's

(creator's) careful intentions. In contrast, Korean food culture features rice and various side dishes

served all at once, allowing diners to freely combine and consume them. Unlike the structured

presentation of Western haute cuisine, the simultaneous serving in Korean food culture enables

endless combinations based on individual choices.

Similarly, the artist intentionally disrupts the convergence of his portfolio into a singular narrative

by allowing different modes of work to conflict. These modes include intimate documentary

photography, staged photographs that reconstruct memory or play, and self-referential conceptual

photography, in which the artist wants the viewers to discover their own narrative by combiningthem.

Although his attitude has been evolving naturally as he has become aware of his role as a family

member and an artist photographing his family, his attachment and love for his nephew Kim Sae-

hyun will remain steadfast over time