People leave the place they grew up in to make a new home. The childhood home doesn't feel the same as it was, while the new home doesn't fully satisfy the emotional and physical connection. Edgar Kim attempts to fill the insufficiency of his dwelling space with ready-made images of home and objects of personal and collective memories. His photographs address the qualities of home that cannot be quickly made or found, depicting the inevitable futility of reproducing the image of home we have in our mind. In this body of work, Edgar conveys a façade cannot make a home.

no man's land

As a society, we buy and store vacuum packed parts of dead animals, packaged and advertised as food, and these are regarded as ordinary objects in everyday life. At this stage, they are simultaneously the bodies of deceased beings and a potential source of nourishment, though not just one or the other. This is when the products are most unnoticed yet most interesting, if observed. The packaging preserves freshness and nutrients but it also makes the death seem more vivid, and more readily available. It is something that is both grotesque and a source of sensory stimulation, even something to be regarded as tasty. Depending on the context, these objects can be seen either way. But the photographic representation depicts both perspectives, cropping certain elements and revealing others, questioning how we perceive what we see.

/stil/

adjective

1.    not moving or making a sound.

noun

1.    deep silence and calm; stillness.

2.    an ordinary static photograph as opposed to a motion picture, especially a single shot from a movie.

adverb

1.    up to and including the present or the time mentioned; even now (or then) as formerly.

2.    nevertheless; all the same.

verb

1.    make or become still; quieten.

Questioning certainty and perception.

Context changes appearance, and changed appearance changes meanings, so what we perceive is relative and contextual.