My works are motivated by comparing the images of old and new Hanji (traditional Korean paper) taken by an electron microscope. In the image of the old Hanji, Mother Nature is engrained with the traces of time accumulated. The image resembles the scenery of mountain in that there are soil, trees grow, flowers bloom and fruits are born. With this motive, the background of this work turns to the nature. The photo works are harvested in the process of shooting all over the country by time and season. They highlight the contingency rather than intentionality and enhance fictitiousness by blurring the line between the actual forest and the virtual reality synthesized with a nano-image. Why don’t we imagine that the screen-like image in the wild nature is the screen of an outdoor theater? By stimulating the emotional code of a fictional drama, it spurs us to recall movies based on a specific situation.
In 2009, Hojun, Ji presented a series of his Nanography (the combination of nano and photography), which is a photo of nanoscopic images taken by a microscope and projected in a realistic space. When the nanoscopic images of tree-like shapes are projected into a space of everyday life, we believe without doubt that these images are natural objects.