Bae Yoon Hwan’s Self-Portrait, 2017 consists of overlapping, interconnected drawings that express artistic struggle against the backdrop of the current art market boom. Significantly, instead of merely offering criticism, Bae conscientiously explores both the strife and the necessity of artistic production. He dissects the conflicts that arise in this contemporary situation, showcasing the anxiety of creative anguish, as well as the need for survival. In the video, the artist presents himself using three avatars: a taxidermist, a client, and a mounted animal. Through a continuous conversation with the client, the taxidermist completes the stuffed animal. Bae highlights the fracturing of the self that occurs when trying to balance demands, both external and internal. The work unfolds through animated drawings that push the boundaries of the medium while emphasizing its continued importance in contemporary art practice. The video moves between unfinished non-linear narratives with obscure beginnings and endings; a succession of flowing images and languages roams in search of a destination. The film ultimately demonstrates Bae’s determination to commit himself to the authentic acts of drawing and painting.