Woo Ju, based in Germany, started to take pictures after accidently finding an old film camera at a flea market. In a world saturated with digital photography, she regards her photographic practice as part of a daily practice rather than an artistic one.

So far, she has interacted with her viewers or subscribers through email subscription or mailing of photo prints instead of uploading her snapshots on social media. Can photographic images still have power without visible presentation?

Woo Ju, based in Germany, started to take pictures after accidently finding an old film camera at a flea market. In a world saturated with digital photography, she regards her photographic practice as part of a daily practice rather than an artistic one.

So far, she has interacted with her viewers or subscribers through email subscription or mailing of photo prints instead of uploading her snapshots on social media. Can photographic images still have power without visible presentation?

KR / EN
KR / EN

독일에서 활동하는 우주는 우연히 플리마켓에서 낡은 아날로그 필름 카메라를 구입하면서 사진을 찍기 시작했다. 디지털 사진이 포화한 환경에서 자신의 사진적 실천을 예술적인 작업보다는 일상적인 실천의 일부로 간주한다.

우주는 그간 스냅 사진을 SNS에 업로드하는 대신 메일링 서비스를 통해 구독할 수 있게 하거나 인화된 필름 사진을 직접 우편으로 배송하는 방식으로 관객 또는 구독자를 만났다. 사진적 이미지가 가시적으로 전시되지 않으면서도 힘을 발휘할 수 있을까?

Woo Ju, based in Germany, started to take pictures after accidently finding an old film camera at a flea market. In a world saturated with digital photography, she regards her photographic practice as part of a daily practice rather than an artistic one.

So far, she has interacted with her viewers or subscribers through email subscription or mailing of photo prints instead of uploading her snapshots on social media. Can photographic images still have power without visible presentation?