Ham Kyung-ah
Life’s Guilty Pleasure-The Things, installation view, stolen objects, brick, cememt, rose tree, 2002


Objects that are stolen evasively of peoples glance are brought from the public space into the secret world, which is actually a gap in the walls I created. The narrow corridor between walls or buildings in a metropolis that separate interiors and outside are not only the places to hold a mockery celebration on paradoxes of the cultural snobbery in the society but also psychological space and hideout of desire and obsession with materiality. Especially, the roses planted on the walls connecting both sides of walls humorously embody intense material desire as they seem to have grown out piecing through the thick walls. In this narrow space, there exists tension between private space and the public who are seemingly still present in the stolen objects. This desire and obsession come together in a cynical celebration which reveals artistic and materialistic sensibility while it hints at the identity of private memories and traces.