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Each year, British Journal of Photography presents its Ones To Watch – a selection of twenty emerging image-makers, chosen from a list of nearly 450 nominations. Collectively, they provide a screen into where photography is definitely heading, at least in the eye of the curators, editors, real estate agents, festival producers and photographers we invited to nominate. Throughout the next few weeks, we are sharing profiles of the twenty photographers, originally published in the latest issue of BJP, delivered direct by having an 1854 Registration .
Kim confronts the girl personal struggles with conceiving and infertility through romantic and honest photographs
By way of a constellation of tender times and sentimental scenes, Jenny Kim’s project Making My Method to the Shore explores her lifestyle as a woman, without kids, at the end of her fertile many years. “I began the project during grad school in 2019, a few months before turning 40, ” she states. “The window to my having children years rapidly closing gave me a newfound urgency to examine the cyclical nature associated with life and my family tree, especially my maternal series. As my dream of motherhood turned into a reality of infertility and anxiety, the stress mounted every month that I could not get pregnant. I wondered when the void of missing out on the intricate life experience of as being a mother could ever end up being filled. That wonder was obviously a touchstone that guided myself throughout the project. ”
Producing My Way to the Shore remnants an intensely personal trip through softly lit portraits and landscapes of specific significance. Her partner, loved ones and, perhaps most importantly, Betty herself all feature throughout. Making self-portraits was, she says, a difficult endeavour, yet a crucial step in the process however. “Initially, I couldn’t even talk about the range of feelings I was having, because battling to conceive and then coping with infertility are traumatising existence events for a woman. Over time though I realised that I wasn’t going to deal with any of it if I didn’t look inside myself. Negotiating the space between what my life has been like as a mother, and uncertainty about whether having my own family was feasible, made it clear that I ought to include myself in the photographs. Our experience was specific however, not uncommon and ultimately I actually couldn’t let everyone else I photographed do the work for myself. ”
Born in 1978 to South Korean immigrant parents, Kim grew up in LA. She was an innovative, curious child and her fascination with people and how we think led her to pursue a degree in social mindset at the University of California Irvine. Later, she had taken an introductory course inside photography and was absolutely hooked. She went on to study for an MA in photography at Brooks Institute and it was there, she says, that will she learned “what this truly meant to be vulnerable plus honest about what I wanted to convey through photographs”.
Photographer and educator Jörg Colberg, who nominated Ellie for Ones to Watch, echoes these types of words. “Pairing reserved findings with candid diaristic sketches that reveal the visceral reality of life, Kim’s work shows what we could all gain if we allowed ourselves to be as truthful with what we’re facing like she was, ” he admits that.
Kim is working on a dummy reserve of Making My Way to the Banks and has also started a new project on the subject of femicide, continuing her type of interest in visualising women’s problems. “Endless topics stem in the complexity of womanhood that I continually find fascinating and important to talk about, ” the lady says. “Reflecting on my psychological landscape within these themes has been an integral thread throughout my work. ”