Ray Bradbury's *The Martian Chronicles*, published in 1950, depicts the lives of Earthlings who migrated to and settled on Mars. There is someone who was captivated by this science fiction novel, which is filled with episodes that are both surreal and realistic. CEO Seo Min-kyu founded the publishing house 'Martianstory,' named after this book. He often feels this surreal sensation when pressing the camera shutter. In the fleeting moment when light touches the edge of his gaze, the surrounding aura instantly transforms, creating a new space. His unique Martianstory is fully captured throughout the photographs and the book.

The house feels like a work of art, as if I’ve stepped into a scene from a movie.

This is a house I built 15 years ago. Due to rental issues at the place where I used to run a publishing company, I felt I needed a space where I would never be evicted. I built the house with the help of a friend who is an architect. The basement and first floor are used as a studio, while the second floor serves as our home. The floor-to-ceiling windows that let in plenty of light and the wooden furniture placed throughout the house exude a warm atmosphere. I also created an outdoor space so I can work outside when the weather is nice. This isn't just a space for my family; I invite neighbors over from time to time and host small performances. It is a place where anyone who wants to see my work can visit anytime.

Martian Story has published over 80 art books from 2005 to the present. Whenever I look at overseas publications, I am always drawn to the diverse printing techniques and even feel a sense of envy; I noticed that Martian Story also experiments with various printing techniques suited to the book's concept.

When experimenting with various printing techniques, there are many factors to consider—such as planning, design, and interpretation—but ultimately, feasibility is what matters. There are many instances where one has to give up because they cannot produce it exactly as desired. Some people underestimate printing, but it is absolutely not. It is only possible with a separation expert who knows how to interpret the work and can combine, develop, and use the appropriate inks . If you look at breathtaking overseas publications, there is always a separation expert in charge of the work. You can consider them virtually non-existent in Korea. About six or seven years ago, I also went through a period where I contemplated giving up on everything. It was then that I met CEO Yoo Hwa of Yoo Hwa Company, a separation expert. She is someone who realizes exactly what I want. Meeting an expert fueled my ambition, and I began to experiment with various concepts and printing techniques.

Taking on a new challenge every time must not be easy. What do you agonize over the most during the planning stage?

I have a bit of a contrarian streak. I strongly dislike publishing a standard book and want to offer interpretations that differentiate me from other creators. I don't have a meticulous plan; I tend to work spontaneously according to my own intentions. While I sometimes feel apologetic to the artists I collaborate with, that is precisely why I want to create results that are distinct from the past. Even though my hands are taking photos, my mind is constantly thinking about how to proceed with this project and how to bring out the value contained within it. I also strive to create work that is uncomfortable rather than easy and intuitive. That subtle discomfort provides a tremendous sense of pleasure when it aligns perfectly with the intended concept. I believe that discomfort opens up room for readers to freely interpret and imagine.

The art books published by Martian Story are widely praised for their seamless flow and unique techniques. Please share any memorable works you have.

I would like to introduce them all, but if I had to choose just one, it would be Park Myung-rae's

While working on the art book, I'm also publishing a magazine called <Litmus Story> in my spare time. I see the fourth issue is already out?

While producing art books, I frequently witnessed active artists gradually lose interest in their work and drift away from the path of an artist. It is unfortunate. That is why I started 'Litmus Story,' an irregular publication, in 2016, with the desire to provide them with the small joys and driving force to continue their work. With the exception of myself, the participating artists change every time. I gather artists I want to introduce or those who are currently working hard to create synergy. Through 'Litmus Story,' I aim to empower artists with tangible results by holding exhibitions simultaneously with publication.

So, what themes do litmus stories usually contain?

I don't have a specific theme. You might view this as a collection of short stories compiled from the artists' own work. Photography is typically divided into feature-length and short pieces; short works are often difficult to bring out into the world and tend to be kept hidden away. I include these short photographs along with poems or brief texts that complement them. Since the content is conveyed solely through photos and a few lines of text without further explanation, readers might find it somewhat unfriendly. However, most artists place great importance on their own perspective in interpreting the world and hope that their work will have some kind of impact on society. I intend to reinterpret and convey this from the perspective of a creator rather than a reader.

I heard that you spend half the month in Daegu and the other half in Jeju. As a photographer and creator, I imagine you see and feel different things in the city of Daegu and the island of Jeju, respectively.

In Daegu, my eyes are drawn to places that have been abandoned or destroyed—the so-called traces of development. I mean the marks left by human intervention in nature. I can't quite put my finger on why, but that sense of neglect keeps drawing me in. That is why I mainly travel around the outskirts of Daegu to photograph. It wouldn't be an exaggeration to say that I have visited and taken pictures of most of the outskirts at least once. They aren't that far from the city center, but the atmosphere changes dramatically. I guess I just like that sense of dissonance.

Is it a longing for places I haven't been to, or is it a memory of the place where I lived as a child, remaining in my subconscious?

I think my childhood had an influence. I am from the countryside, even within Daegu. I lived in a close-knit clan village before moving downtown to study. A completely different world unfolded before me, so it was incredibly difficult at the time. However, that sense of alienation I felt back then seems to have shaped my current sensibility. It might sound cliché, but I suspect that my consciousness and emotions were influenced by the slight loneliness, coldness, gloom, and chill inherent in the city.

In contrast, the photos taken in Jeju seem to feature many warm landscapes. At what moment do you find yourself pressing the shutter?

Light is the most important thing in photography, isn't it? To me, it doesn't make much difference whether the location is Daegu or Jeju. Since a space can be interpreted simply by the presence of light, I capture the moments when the light feels beautiful. I have been working on a photography project for four years now, using the entrance to a neighborhood alley near Sanbangsan Mountain in Jeju as my stage. I continuously photograph a single space where light streams in. It is so much fun because the interpretation changes depending on the variations in the light. I plan to keep shooting until I feel I have reached my goal.

I'm curious to see what Martian Story will do this year.

I am preparing for something targeting the spring of 2023. Photography is an art form that originated in the West. I have been thoroughly exploring how this Western art took root in Korea and has been passed down through the ages. In doing so, I came across the photographs of 'Muheo Jeong Hae-chang,' who held Korea's first art photography exhibition. They are 100 years old. I felt that his work truly represents our roots. The writings of 'Sangheo Lee Tae-jun,' a contemporary who led the Enlightenment movement, complemented this work exquisitely. We are proceeding with the project after meeting with the bereaved family and obtaining their consent. Should I say we are restoring the photographs, or reclaiming them? It is a truly challenging task, but I am preparing it together with artist Park Myung-rae and Representative Yu Hwa. I, too, am looking forward to the results.

Maker's Pick

3 Art Books Selected by Martian Story CEO Seo Min-kyu

LITMUS STORY ISSUE 04

Litmus Story is an irregular publication by Martian Story that introduces artists who have consistently worked with analog film. It features works by four photographers with distinct perspectives (Alan Eglinton, Park Sang-yong, Park Jae-hyun, and Seo Min-kyu) and poems by Emily Dickinson (Fascicle). An exhibition is scheduled for March 2023 at 'GOOD SPACE' in Daegu.

Gong Ji-soo, Till we have faces

Various characters appear, including musicians, photographers, and barbers. The expressions one makes within society and communities are countless, varying depending on the situation and context. Among these, artist Gong Ji-soo focuses not on the expressions commonly revealed through the face, but on the expressions captured in the back view and revealed through the entire body. Through these expressions, which spread throughout the body only when one is deeply immersed in something or in an unconscious state, she captures a person's sincere moment.

Lee Tae-je (TEYÉ), MY WORLD(S)

Artist Lee Tae-je has been staying in Galicia since 2019, observing and understanding the ancient villages of the Celta people, their traditions passed down from parents to children for thousands of years, and their way of life. Having married a descendant of the Celta people, the artist seeks to reflect on the wonder of life alongside tradition, individual and ethnic identity, and the meaning of the coexistence of nature and humanity through this work.