Face of Mongolia is a photographic project documenting the lives of Mongolian nomads who survive by relying on their livestock amidst a vast and often unforgiving natural landscape.

A nomadic life, by its very nature, is grounded in the principle of impermanence—and with that, a way of living that eschews possession. To be ready to move at any moment, they own only what they can carry. The discipline and philosophy embedded in that simplicity left a profound impression on me—one that felt unfamiliar, yet deeply resonant.

I believe these cultural conditions have given rise to a distinct strength of will and dignified character among the Mongolian people. They do not strive to construct a ‘personality’ as we often do. In our world, we frequently struggle, fail, and try again to become a certain version of ourselves. But with them, character is something that emerges naturally—boldly and without pretension.
It was in this contrast that I found myself captivated: the quiet confidence of the nomads stood in stark opposition to the anxieties, performative identities, and repeated failures often seen in modern, civilized societies.

In terms of visual approach, I borrowed the formal aesthetics of commercial photography. I employed artificial lighting and digital retouching to speak in a contemporary visual language, yet the subjects were portrayed exactly as they were—in their own environment, wearing their own clothes, holding their own tools.

This project thus blends the factual nature of documentary with the stylized techniques of commercial portraiture. I intended to create images that are both familiar and strange—inviting viewers to look again, to question what they see.

Ultimately, I hoped to allow the quiet resilience and invisible pride embedded in the lives of Mongolian nomads to seep into the photographs. Through the landscapes they inhabit, the garments they wear, the tools they carry, and the expressions etched into their faces, I invite the viewer to witness a kind of dignity that needs no embellishment—dignity in its most unadorned, authentic form.

Spring 2014,
Hakbong Kwon