Existing in Costume by Chan-Hyo Bae is a staged photographic series created primarily in London between 2005 and 2018, following Bae's move from South Korea in 2004. Through a range of sub-series including "Self-Portraits," "Fairy Tales," "Punishment," and "Witch Hunting," Bae examines themes of cultural estrangement, identity, and historical exclusion by inserting himself into historical Western settings.
Amid rising global migration and cultural prejudice, Existing in Costume emerged from Bae's personal experience as a Korean man navigating life in the UK. His initial admiration for Western culture gave way to a sense of alienation, which he channels through elaborate self-portraits that critique racial and gender-based stereotypes. His presence within these tableaux deliberately disrupts viewers' expectations, confronting the mechanisms through which dominant societies render others invisible.
Visually, the images are meticulously composed and richly colored, resembling old oil paintings in tone and form. They feature centrally positioned, full-length figures in traditional Western costume, often offset by anachronistic elements such as Korean fans or military tags. The tension between Bae’s identity and the roles he assumes creates a moment of visual shock that challenges viewers’ cultural assumptions.
Technically, the project is realized through large-scale chromogenic prints, with some measuring over two meters wide. This conceptual use of masquerade aligns Bae with other artists—such as Yasumasa Morimura and Maud Sulter—who use self-portraiture to explore identity and power.
Widely exhibited and collected, Existing in Costume has been shown at major institutions including the Museum of Fine Arts, Houston and The Museum of Photography, Seoul. Its critical reception has emphasized both its visual sophistication and its incisive commentary on belonging and cultural identity.
