I briefly introduced a series of works which I continuously endeavored along the theme of 'migration' from1999 to 2004. The motive of my works has been 'migration.'
Through my works, I have wanted to provide people with opportunities to think over the issues of 'communications' across different cultures and classes.
During the process of my works, the 'communications between the artist and participants' have been important. It has been more so because my works proceeded based on 'communications with the public.'
For the series of photographs, 'Migrant Workers in Berlin,' while asking people on the spot for photographs in front of the Migration Bureau office, I approached them clarifying my intention but still giving them no distant feelings.
Same way of approach was taken for the installation work of 'Memories of Germany' and series of photographs of 'Korean Nurses in Germany.' Since the Korean community that I met as a student in Germany was different from that of migrated Koreans there, it was hard to find proper Koreans in Germany for interviews and photographs.
Therefore, I first built rapport with the migrated Korean community while working as a secretary for the Korean Association in Berlin for 8 months before I actually started my work.
Also when I returned to Korea and met migrant workers in Korea, I first learned hands-on information and experienced while volunteering at migrant workers' organizations.
Since these processes of precedence modified and supplemented my original purposes, 'meeting and communicating with people' is an essential part for an improved levels of completeness for my works.
In 1999, for the photography works of 'Migrant Workers,' I played a role of 'photographer' who shoots the souvenir pictures in front of the Berlin Immigration office. In 2000, as a secretary of the Berlin Korean Association, I took pictures of and interviewed the Koreans in Germany. And in 2001, when I returned to Korea, I not only portrayed pictures of migrant workers in Korea, but also tried to expand territories of my activities to those of a music CD planner and producer by scouting out a migrant workers' band and producing a music CD with them.
In 2004, I am in the process to publish a photography book on women migrant workers with 'Women Migrants' Human Rights Center' and met citizens holding an election campaign performance on streets for a migrant worker politician.
As shown above, I, through communications with different classes, have tried to extend the meaning of 'artists' on the social contexts. Most of all, the various experiences during the process of my works have been much more valuable to me than the final products.
Therefore, I continue to study on the issues of 'communications' in 2004, storing hands-on experiences away from the closed workplace.