From the bustling cities in the work of Eamonn Doyle and Guy Tillim, to Mark Power’s survey of decaying American landscapes, and a collaboration between Clémentine Schneidermann, Charlotte James, and a group of children in South Wales – this month’s issue is dedicated to the idea of the street as a site of theatre and historical spectacle.
“The Pink and Blue Projects were initiated by my five-year-old daughter, who loved the colour pink so much that she wanted to wear only pink clothes and play with only pink toys and objects,” writes JeongMee Yoon. “I discovered that my daughter’s case was not unusual.
“In the United States, South Korea and elsewhere, most young girls love pink clothing, accessories and toys. This phenomenon is widespread among children of various ethnic groups regardless of their cultural backgrounds. Perhaps it is the influence of pervasive commercial advertisements aimed at little girls and their parents, such as the universally popular Barbie and Hello Kitty merchandise that has developed into a modern trend. Girls train subconsciously and unconsciously to wear the colour pink in order to look feminine.”
Hanna Moon was born in South Korea, Joyce Ng “spent her youth in the multitude of sprawling malls throughout the city of formerly-colonised Hong Kong”; both are now based in London, where they’re fast making their mark in fashion photography. They’ve joined forces for an exhibition at London’s Somerset House titled Hanna Moon & Joyce Ng: English as a Second Language, which explores their take on Western conceptions of beauty.
The exhibition includes new work commissioned by Somerset House as well as images from the photographers’ archives: Moon opted to shoot two of her favourite models – Heejin, from South Korea, and Moffy, from London, in Somerset House’s handsome Neoclassical buildings; Ng, who prefers to street-cast, chose to make images with people who work in, or were visiting, Somerset House. Also shot at Somerset House, Ng’s images were inspired by the 16th century Chinese novel Journey to the West.
“When I started researching the pornographic visuals, it hit me that there’s a clear formula in the way women are portrayed in them,” says Ina Jang. “I printed out some of the images, cut out the body figures and photographed them. From there, I kept making images with similar positions.”