C. min HAN
"Geometry " 



展覧会名:"Geometry"  C .min HAN
   東京都渋谷区神宮前4-17-3 アーク・アトリウ ム B-02
   tel+fax : 03-5775-2469 

1.personal record

name : C .min HAN
DOB : 1. Mar 1982 born in Busan.

2. statement

I'm very happy to make first solo exhibition in japan especially in gallery omotessando.
this is my second series of work by chronological order.
but personally I would like to introduce this work first formally in japan.
because this second series is showing more about mythological will
of distortion then first series which is describing aesthetic distortion.
at the very point, this series is start point of my concern about distortion.


C. min HAN

3. concept of work


distortion has been already begun
whether you have tried to see more or wide
at the moment of beginning of seeing.

camera is wholly like the eye. not only in the mechanical system but in the photographic way of process.
it is like way of our attitude of seeing object. people always want to see more to understand and
believe they have analyzed something. and they would degrade every different thing from the "truth"
which they already have made as "epidermis" or "appearance" or "fact".
the overdevelopment which is used at the first work is very basic skill of photography but I thought that
it's very similar to the attitude of people which reveal more. originally extremely underexposed film is
very similar to ordinary attitude which decide after just glimpse. and to analyze their glimpse\ they used
to use individual\ knowledge or custom or inclination and analyze it as a "truth" of the object which the
object already has (most of the time we believe that is hide). that is really like photography which is
making print from underexposed film by push development. those kind of photographs leave only the
silhouette but still beautiful and enchanting and satisfy the desire.
the colored photo paper is just an attempt to hide coarse particle after all, we are coloring from the
ground to change our glimpse and analysis to the "truth" which only we can reveal and we already knew.
the second works are also started from same basis.
I tried to catch the "pillar" which is sustaining of the "bridge" the symbol of mutual understanding
(the functional meaning of bridge is like the tool of mutual understanding to me) at the first work.
at the first shooting I questioned my self that "what about the other side?" then I decide to make
directly other way than before so I used overexposed film on the contrary.
we are believing we can find out more by effort and study. that belief meet kernel of philosophy of
enlightenment. but those images obtained through "seeing into the deep inside" "seeing for more
long time" change ruined place under the bridge to as though stage of myth after all and the moment
the place where darkness and stench filled reveal their beauty I felt like "to see" the trivial and primitive
act is like fantasy itself, phenomenon and analysis of that, this way itself as if myth which is carved into
logos like collective unconscious in structuralism.
from the connection (whatever it is) which make mutual understanding possible to the prop of it, Are we
reproduce our fantasy or illusion as if atomic structure...? do we live with admiration and self conceit about
portion of illusion and claim that "we have analyzed it" and believe that "we have understand it" while
those stretch the meaning of object and reproduction of distortion and misconception are entangled...
to solve the self question ..why every persons have their own me?..
I (granting every meaning to every photographic process) am the one who live with distortion and
misconception and the reason I entitle my exhibition "Geometry" is that is represent science of primitive
misconception about measurement and analyze.