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.
裴勇煥2017年的自畫像包含了既重疊又互相聯繫的畫作，它們表達出目前藝術市場繁盛背後的藝術掙扎和奮鬥。重要的是，裴不僅提出批評，而是自覺地探索藝術創作的紛爭和必要。他剖析了這種當前形勢下所出現的衝突，呈現出創作痛苦的焦慮感，以及生存的需要。在影片中，這位藝術家使用了三個化身：標本製作者、客戶以及掛上了架的動物，來展示自己。透過與客戶持續對話，標本製作者完成了填充動物製作。裴突出了當試圖平衡外在和內在需求時所出現的自我破裂。這件作品透過動畫畫作，展現出突破媒介的界限，同時強調了它在當代藝術實踐中的持續重要性。影片內容於未完成的非線性敘述與模糊的開場和結局之間遊走；一系列流動的影像和語言在漫遊，以尋找一個目的地。影片最終展示出裴決心要全情投入自己真實的繪畫行為裡。
