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Hasisi Park

FEMINIST ART - By Hasisi Park.

We assume that artists are of a different category to normal people, and they live a special life. As an artist and photographer, I’ve been trying to put myself in a general category of normal life. I create projects and series out of intimate life through my relationships or the roles I have to fulfill, and all the discordances between my circumstances and I. I’m female after all, so often my works speak for women. For example, being a femme fatal in The Housemaid (a series of work, homage to a filmmaker Kim Ki Young), trying to be a member of a whole new family in The Family (a series of work from Japan), and making a small funeral for bloody panties. I role-play a certain character in an absurd situation, or exaggerate trivial events of everyday life to give women a chance to reconsider their dejected viewpoint toward the world and themselves.

As a lazy and weird-looking Hikikomori (a Japanese term referring to the phenomenon of reclusive individuals who have chosen to withdraw from social life), which may explain why I don’t use pretty models in my work. I prefer to appear in front of a camera. Being a Hikikomori is certainly related to my attitude and perception of art because it limits what I can get from outside. Rather than being a spectator, I choose to be objectified by frightened women, including myself. When you first look at my photographs, it seems difficult to identify with the character because she plays out what most women can’t present in normal life. But it unconsciously arouses desires of becoming one of the characters in the image. By merging gratification of deviation and satisfaction of aspiration, my works could be classified as feminist art.

People who only believe what they see are easily cheated. Lacan once said, “Cynics believed in their eyes miss effectiveness of symbolic fabrication even though the fabrication is realities which compose our life.” I’d like to stimulate people with indirect seduction, which could be a total lie, meaning fictional. On the assumption that the lie itself makes people uncomfortable and insulted, the symbolic fabrication of the image affects people, and they automatically find a connection to their memories or experiences. That is the most important aspect of producing art for me. I don’t have the answer to what I should keep focusing on to awaken people or satisfy them. But I know I want to develop the relationship between audience and artist, and a genuine way exists through an interaction. I will keep providing interesting clues and narratives to make viewers click on their own memory so that they can create a brand new story of themselves.

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