2023. 1. 6 – 1. 19
YIM Chang Joon
What does nature mean in YIM Chang joon’s photography? As a subject, it gains strength because it is perfect, but it can’t capture everything on the screen, so it will be more attractive with infinite material as it changes every time we observe it. If we focus on seeing, observation is just checking the appearance. The invisible imagination begins and the feeling of emotion becomes a certain shape. The object observed here has a documentary aspect due to the nature of the photograph, but changes are repeated from the perspective of modern art. Nature has its original shape but becomes a more free shape through the subtle processing of the artist’s gaze. The object that is lowered in chroma and collaged is mysterious like the world of unconsciousness. In a horizontal composition, the object is placed at the center of the screen, and the space where the scenery is only or the character is placed is sometimes directed. There is also a scene in which he himself becomes a model in the photography.
It metaphorizes nature viewed rationally from a serious feeling with a beautiful but dark side. Knowing that it is not irrelevant to the world we live in, he expresses our daily lives by connecting nature with humans or parts of nature. It is a space that travels everywhere, and in terms of relationship-oriented, the plane is a clear but unclear abstract character. There, the artist’s wish to find “the joy of life” became a work of art, and the photography is a place of communication, and nature is beautiful but rough. In particular, due to dark screen processing, the object is only placed there with its original properties. Just as life is shown at a certain point of birth and extinction, objects may be seen as something that cannot be seen as a momentary record.
This place, which includes religious reflection with a compressed story, shows a commitment to live hard with invisible beliefs. In a quiet atmosphere with rough waves in the dry land, the old looking screen shows we chase a desire even though we know that the symbol of desire is an illusion, Jacques Lacan said. It is a semantic form that asks Lacan’s Jouissance, who suffers and feels emotions with the question of why. If we go back, this question begins to be understood after the unconscious world discovered by Freud in Western modern times. Plato’s dichotomous thinking found that at some point there were unexplained realities that he regarded as inside and outside, good and evil, body and spirit. It may be a trauma, but feeling is eventually resolved, and isn’t it the driving force behind change and development? Until not long ago, our daily life was hard. Our daily life was paralyzed by an unexpected situation, and we realized how precious the day was for the daily life that slowly came back.
I want to conclude, but there is a photograpy of the artist that doesn’t leave my head. A figure reminiscent of a monk in faded nature. When I think of a scene, I have a lot of thoughts. Aren’t they people who live in the world but remain in a slightly different perspective, people who serve God, not the so-called worldly desires, who are well controlled in reason and emotions? What does a religious person want to hope for, away from secular standards? Wishing is something that cannot happen without others. The artist is also a person with a different perspective. Although it is a part of the world, they must be people who bring out honesty in ordinaryness because they feel their daily lives as one person without hesitation and create works. In that respect, the artist’s work is ironic. He’s a person who wants to see a lot of things beyond the moment. He tries to look inside the space expressed like night. Whatever it is, He doesn’t want to jump to conclusions and look carefully. He accepts positive things whether they are good or bad. Humans have no choice but to support the world. Since life lasts only when we know what we want to achieve and acknowledge the reality, the photography shows that we can’t know where it is, so it’s realistic. As a result of observing the site for a long time, he experimented and made a work with the result.
87 Samcheongro, Jongrogu, Seoul, Korea
+82 2 739 1405, 6