Mirror Series
2007

Back
Oval mirror with reflective side facing wall, 70 x 50 cm
Non-Moving Self
Rotating mirror, motor (360-degree rotation every 3 min.), 60 cm diameter
Eyes Off
Circular mirror on metal armature, pivots 360 degrees, motor (one turn about every 4 min.), 60 cm diameter
Watching You
Two-way mirror with TV, receiver, sound, motion sensor (turned on and off), 60 x 40 cm
Ulterior Thought
Rectangular mirror, image from Sadong 30, light panel, motion sensor (turned on and off), 44 x 55 cm
Foxed in the Forest
Mirror with red LED clock and letters, motion sensor, 70 x 40 cm

Installation View of FOXED IN THE FOREST, Dépendance, Bruxelles, Belgium
September 15 – October 19, 2007
Photos: Isabelle Arthuis
Courtesy: Galerie Barbara Wien, Berlin

Haegue Yang’s exhibition at dependance consists of a new series of mirror works. Her show, titled as “Foxed in the
Forest”, constitutes a minimal, yet concentrated presentation with six mirrors on the wall. Each mirror shows a certain
kind of interference that it negates or neglects to reflect the viewers image on it.
BACK is an elegantly shaped oval mirror, which simply turns its back to the viewer. In other words, it prefers to reflect
the wall a la Bartleby!
Two round mirrors opposite to each other show their resistance against the duty of reflection through their movement.
One goes constantly away from the position to reflect viewers (EYES OFF), the other rotates itself as subtle/silent yet
persistent to its predefined nature to reflect (NON-MOVING SELF).
This series also includes three rectangular mirrors with sensor technique. Each of them changes its character depending
on whether the viewer approaches the mirror or not. One changes from a simple reflecting surface to a TV (WATCHING
YOU) when the viewer comes closer. The other turns into an image (ULTERIOR THOUGHT) or text/time board
(FOXED IN THE FOREST).
What each mirrors performance suggests is what the artist observes in her own daily life, i.e. the frequent co-existence
of radio or TV at work in order to keep herself alone without feeling alone. In her mirror series, she reveals her struggle
with herself between being effectively concentrated and helplessly distracted by inspiring yet somewhat destructive
thoughts while both are seamlessly overlapped in the mirror.
Haegue Yang’s current artistic interest lies in the on-going act of questioning the construction of self and subjectivity,
which is often driven by her own daily experiences with herself. The mirror series builds her own visual and allegorical
interpretation of her thoughts on an engagement with the self as well as with the other. Yang invites the others to the
negative space of herself to provide a space in the mirror, where the self and the other could meet and miss constantly.

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