“I will take her to my favourite cafe and order alternative milks.”
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Backstage at Deathwatch, I felt a rearticulation beginning in the vocabularies of everyone there.
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Our eyes can only see so much, and they see cities very poorly.
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To be in and represent a female body in the early twenty-first century is to explore the beautiful and discarded, and tell one's story through new forms.
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Achieving strong liminality is like landing a coin on its edge: a difficult feat but the effect is impossible to substitute.
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An homage to intergenerational love.
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Childhood imagination – strangled dead from this codified, mundane and despairing task of appropriating (dressing) ourselves – was revived.
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It’s like realising you’ve left your umbrella behind somewhere, but worse.
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Every life spread out, mine parallel to yours parallel to everyone else’s.
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I wonder whether she’s praying, or meditating, and whether she’s prone to impatience, but the 01:01 train arrives before I work it out. It takes four minutes to depart; four minutes to expose the translucent creature perched in her place.
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Your phone is hungry for the world, hungry to consume everything in front of you. Regular images are no longer enough, we must survey, collate, stitch together.
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Inspired by works by Youssef Nabil, Shahin Alipour, Lalla Essaydi and Shirin Neshat, this series of photographs explores the beauty of seemingly ‘paradoxical’ intersecting identities; being from the SWANA region, queer, religious/ non-religious – a child of diaspora existing in the uncertainty between eastern and western culture.
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All digital work produced on the internet is fated to become kitsch, no matter the level of elegance or skill with which it is executed.
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Drawing inspiration from the dark and gritty work of Daido Moriyama, this photo series intentionally juxtaposes the youthful children within a Moriyama-esque visual style, mirroring the contradicting aura of past and present that enveloped Lebak Siliwangi.
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Curation is experiencing a shift that I believe is well needed, a shift towards rethinking the bounds of the museum from just a place to put art on walls to a more experiential world, creating new, interactive and interdisciplinary ways to view art.
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American Apparel ceased operations in 2017, so this shoot was a homage to the simple artistry of versatile fashion and the ways it can interact with subject and spectator.
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‘Halmeoni (할머니)’ is a series of 35mm photographs of Estelle Yoon's grandmother and their younger sister.
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“I think the things that inspire me the most are definitely music and movies, queer culture. They’re things that can give more — I suppose — broad levels of inspiration, not particular people if that makes sense. I think I’m inspired by the queer community — like I literally make my work for them, that’s where most of my inspiration comes from. Just like being out on a dancefloor or at a pub with close friends, that kind of thing.”
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“My relationship with art is really just centred on my love to create. I always encourage my staff and creative team to do that as well. Yes, we do this for a living, but we’re also following a brief. So, I encourage them to try and create outside of the workplace because that’s where you can actually, really explore your own creativity. I just really love it.”
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