There’s a restless energy that pulsates from the work of Korean photographer Jung Ye-Jin. Whether it be the trails of streaking light slicing across her compositions, the stacked exposures and crystal prisms refracting human faces into dizzying formations, or the uncomfortably up-close portraits of individuals staring into the camera—her images all demand a valuable commodity: the viewers’ undivided attention.
躁动不安，大概可以用来形容韩国摄影师丁藝振（ Jung Ye-Jin） 的作品。无论是切割画面的光束轨迹、层叠的多重曝光、用棱镜将人脸折射成令人眼花缭乱的形态，再到直视镜头的人物近距离特写，她的照片有着一种独特的吸引力，令人难以移开目光。
Jung has little regard for the conventional rules of photography, that much is clear. Even on Instagram, rather than a meticulously curated feed of beautiful, planned images, her feed is a hectic scramble of jarring reds, abstract textures, and flash-lit patches of bare skin. But this indifference to perfection is precisely what makes her work so interesting, even to Korean celebrities such as Gikwang, Hyolyn, and Sunmi, who’ve all appeared under her lens.
丁藝振对传统的摄影规则从不关心，即便在她自己的 Instagram 账号上，她也从不对图片进行用心的排版和布局，相反，她让整个页面充斥刺目、混乱的红色、以及抽象纹理和闪光灯下的裸露肌肤。而这种不追求完美的风格反倒让她的作品变得更为有趣，更吸引了一众韩星成为她镜头下的模特，这其中就包括了李起光、孝琳和宣美等公众人物。
Whether on a subconscious level or not, Jung distills the imperfections and impulsive exuberance of youthhood in her work. Flaws are embraced, celebrated even, and it’s these flaws that infuse her images with such a human quality. There’s a sense of authenticity to all of her shots. From poses to lighting, everything feels like it was decided only moments before the shutter was pressed. It’s raw, unpremeditated, and candidly evocative.
不知是否有意而为，她的作品总算不上完美，却带有一股强烈的青春气场冲破观众眼球。照片的瑕疵被公示于众，甚至被大张旗鼓地宣扬起来，而这些都让她的照片显得更具有人情味儿。同时，照片以生猛的真实感示人，从人物的姿势到灯光，一切都仿佛是按下快门前的瞬间即兴完成。这些摄影作品不加修饰，随性而为，坦率得令人回味无穷。
Jung’s photos most often feature friends, and they’re often scantily clad or entirely without clothing. In one shot, a nude girl stands knee-deep in a pond. Behind her, expansive darkness seems to stretch ad infinitum. She glances back at the camera, as if inviting the viewer to enter the void with her. In another image, a milky liquid dripping across entangled, tough-to-identify body parts feels borderline obscene—though there’s nothing indecent appearing in the frame. Her art is designed to be suggestive and ambiguous, keeping audiences guessing as to what’s happening just outside their field of vision.
很多照片的主角都是丁藝振的朋友，他们通常衣不蔽体或完全赤裸。一个全身赤裸的女孩站在半尺高的池塘里，在她身后是无限延伸的黑暗；女孩回头看了一眼镜头，仿佛在邀请观众和她一起遁入虚无。在另一张照片中，乳白色的液体滴落在纠缠不清、难以辨认的人体部位上，整个画面没有任何不雅的元素，却像是在情色的边缘疯狂试探。她的摄影作品总是模棱两可、且充满暗示性，吸引着观众去联想镜头之外所发生的故事。
On some of her images, Jung does apply post-production, but not in the conventional sense—none of it is done digitally. She might embroider patterns atop a film print, drop them into a filled tub of water, or simply slice them up and overlay them atop of each—shooting a new photo of the results. No matter the technique, working hands-on with the image remains an important part of her creative process. She believes that, in the digital-media deluge of our tech age, the tactility of an image is too often overlooked.
通常，丁藝振也会对一些照片进行后期处理，只不过这些后期都没在电脑上进行。她会先在胶片上镶嵌各种花纹和图案，再把它们洗成照片；或者将照片剪出镂空的图案，再相互交叠，然后将其重新拍摄成一张新照片。无论是哪一种方式，对她而言，重点在于亲手去做。她认为，在数字媒体泛滥的科技时代，人们常常会忽略真实照片的触感。
A renegade through and through, Jung is someone who lives and makes art by her own rules and whims. In her work, there is no right and wrong. Nailing the focus and compositional guidelines are afterthoughts at best. What matters the most is the vibe that she wants to freeze-frame in a particular moment. While this results in a body of work that seems fragmented at first glance, the visual mayhem is deliberately executed. In Jung’s case, there isa clear method to the madness.
对于传统摄影而言，她是一个彻头彻尾的离经叛道者，只按照自己的规则和奇思异想“出牌”。在她的作品中，没有对与错，对焦和构图充其量是她顺带会考虑一下的问题。她最关心的是按下快门那一瞬间的气氛。虽然乍一看，她的作品似乎零散破碎，但这种混乱的视觉却是刻意而为。对于丁藝振的作品，这种表面的疯狂却恰恰构成了她的视觉秩序。
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Contributor: David Yen
Chinese Translation: Olivia Li
