I make digital photographs that show unusual marks on areas of anonymous bodies. I use cosmetics to simulate physical features that are commonly thought of as imperfections, such as birthmarks, skin disease, sunburn, and body hair; the latter being so aggressively drawn that the bodies look almost attacked by them. I consider the exaggerated markings to result in an ambiguous impression that is simultaneously beautiful, grotesque, humorous, and strangely decorative.

Typically, cosmetics are used as tools to emphasize conventional beauty, conceal perceived weakness, and resolve gender into preconceived categories. However, in my work they are employed in order to make identities ambiguous and blur the boundary between reality and imagination. On a ballerina’s pale tights, dark masculine hairs are drawn fiercely. The overstated makeup, which looks almost cartoonish and hysterical, fails to enhance masculine beauty, and instead induces curiosity as to the person’s actual gender.

When I attempt to judge the beauty of someone or something, I often feel conflict between my own instincts, and social/cultural/political/academic standards of aesthetics. I am visualizing my vague inclinations toward justice, truth and beauty through my photographs.

	Jiyeon Park
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		I make digital photographs that show unusual marks on areas of anonymous bodies. I use cosmetics to simulate physical features that are commonly thought of as imperfections, such as birthmarks, skin disease, sunburn, and body hair; the latter being so aggressively drawn that the bodies look almost attacked by them. I consider the exaggerated markings to result in an ambiguous impression that is simultaneously beautiful, grotesque, humorous, and strangely decorative. Typically, cosmetics are used as tools to emphasize conventional beauty, conceal perceived weakness, and resolve gender into preconceived categories. However, in my work they are employed in order to make identities ambiguous and blur the boundary between reality and imagination. On a ballerina’s pale tights, dark masculine hairs are drawn fiercely. The overstated makeup, which looks almost cartoonish and hysterical, fails to enhance masculine beauty, and instead induces curiosity as to the person’s actual gender. When I attempt to judge the beauty of someone or something, I often feel conflict between my own instincts, and social/cultural/political/academic standards of aesthetics. I am visualizing my vague inclinations toward justice, truth and beauty through my photographs.
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