影会倒计时丨现代韩国摄影师40人联展(五)

T

he works in the exhibition will reveal what the Korean photographers are trying to recall, how they feel the world, and what the thinking is like in their deep memory. The

photographers, with enthusiasm and obsession, stubbornly insisted on their own creation thoughts.

For us living in modern world, importance is laid on leisure, endurance and endeavor. What matters is not who might be the first to reach the destination, but who will never give up

the hope. The individual shall staypatientin front of difficulties before reaching the goal. Directly or indirectly, the exhibition may arouse your remote memory.

T

he car no longer has become just a mode of transportation but rather an expression of a consumer’s individualism. It has also come to represent the extreme of today’s modernism, filled with excess, surplus, and hubris. Entrenched in this society and clashing with these extremes, the photographer embarked on a journey to Jordan, shaking of these constraints and separating himself from these values. Here he finds a scrapped car in the midst of a vast plain - a stark contrast to the society he had eloped from - the most unlikely of places to find an automobile. The image of this automobile in the great expanse of space is powerful enough to allow for one to break away from the frenzied dashes of life and stop in the midst of the tremendous speeds at which life revolves. This image of the scrapped car; continuous but not continuous, existence but non-existent, similar to the photography-life-existence of the photographer himself (who happens to be an auto enthusiast) sets off a journey and an exploration of automobiles in this piece titled “automatic description”.

T

he day after it rained, the sky was very clear. The sky came down and sat down here. When I walked into it as if I had held the beautiful universe in me, the words of the Genesis came to up. The God created the world with His words (God called the dry ground “land,” and the gathered waters he called “seas.”) And Gold saw that it was good. The feeling is like the solar system in which the planets rotate the sun has been reproduced here of the salt water. That mysterious shape, maybe made of the early morning frost, is so calm. I walk around the sky with another new object.

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n the midst of the sharp flames created by metals crashing into each other, and hazy smoke that makes me miss cool and clean air, I reminded of Gauguin's “Where Do We Come From? Who Are We? Where Are We Going?” The work shows its marvel by coating the village beautiful itself, the curved and narrow alley, and gray, old, and shattering appearance with the traces of times expressed in straight lines and curves. Time Atelier where past, present and upcoming tomorrow blend together. The place full of people's sweat, concentration, patience, laughter, and hope. There it smells Gauguin's work.

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he night of Gyeongju is beautiful.

Moonlight, starlight, and artificial light blend into the eye different colors and light are shown through the film. The tumuli of the night are reproduced and emphasized with subtle colors mixed with natural light and artificial light.

The space in the night photo of Gyeongju is like a warehouse of memories in the unconscious, changing into a mysterious place through the accumulation of light. The space in the picture to me gives a difficult feeling to prescribe like melancholy. To me, photography is an act of reproducing feelings.

Without the accumulation of light for a moment or a few seconds, natural light and artificial light are exquisitely combined and accumulated for a considerable time to make an image on the negative film, This is another expression of photography and color aesthetics. The pursuit of aesthetics, which is one of the most important emotions of human beings, through the landscape of the night of the Gyeongju.

I

grew up in the country, married, and moved on. In the meantime, my life had flown in a direction I didn't know. In the end, I find the metaphor of my life that has flowed so far, looking at the Han River flowing along the apartments in Seoul, a large city with a population of 10,000. One day, I tried to chase the background of my 'unstable' life stuffed in a hard concrete apartment. As the river flows leisurely, our life flows fast. In Seoul, which is filled with straight lines and solidity, a huge soundproofing transparent plastic wall blocks my vision when I open the door every day. My life is on the same border as the ivy that climbs up the wall with life force, and there are 'me flowing' and 'house flowing' on the border.

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hen it gets dark in the Nam River, lights are gradually lit along the wall, revealing the majesty of Chokseongnu Pavilion in Jinjuseong Fortress. At the center of it is the Nam River, so a number of kerosene lamps decorates the river. The Nam River and the kerosene lamps come to me through photographs. The photographs recognize the time and space between many of them. It would be ironic to capture in and show through photographs the reasoning of nature and the reason for existence that a river flows into the sea, water in the sea rises to the sky again, and it falls as rain again.

How many memories exist in that time and space? There are only countless times and spaces. For me, time and space are photographic images, so I created 28 moments in one space to create a surreal imaginary world.

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ometimes the most familiar space feels.

The density of the time that flows wearing the name of daily routine changes a little.

I grow embarrassed to feel my belief that I am in a complete control of space and time shaking. I feel uneasy on the boundary line of comfort and frustration and frustrated that reality and dreams do not mix well in their respective realms. I wanted to catch those emotions that had come to me. I wanted to remember the moments floating in the flow of everyday life.

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n Buddhism, noumenon does not exist. They say that it only changes constantly depending on nidana. There can be no beauty that exists without change. Only does beauty come and go by transient nidana or conceal one's whereabouts. So the process of change itself is beauty, and it can be true. Beauty appears now and then, keeping coming and going. The same is true of our mind that feels beauty.

The moment incessant changes and restless whims meet to become beauty, I wanted to find it in flowing water. I expressed the moment I was bound to water in karma and its swaying waves came to resemble my free soul. Beauty is beautiful itself when it changes, but fixes.