| On the
Bae
Suk-Yoon Photo Exhibition |
There are many photographs are examined in the Western world. A typical way would be found in the Mirrors and Windows
Exhibition by John Szarkowski where photographs were classified as either practically
useful(Mirrors) or expressive of the inner
world or artistic inspiration of an individual(Windows).
Another photo historian divides photos into a means of reproduction of photo
history, a means of producing information and value in the days of modernism, and a means of expression after the 1970s.
However, these are categories used by the Western world with its own viewpoint, and quite different from the theory of essence
proposed by photo artists in Korea. While essence is an issue of truth, we must remember that today, in an age full of diverse
information and varied ways of interpreting them, we should not be too obsessed with essence.
To dated, most of the landscape photographs taken in the West have lauded the grandiose nature, while impressing and cleansing
the hearts of the viewers with the details of majestic nature. But this is an age of diversity and individuality.
This trend is apparent in our
everyday lives and connects quite directly with the artistic spirit.
Artists always endeavor to set a fresh new trend of fashion in their work.
In other words, they want to go where others have not. If
artworks were based on imitation, they would be called "followers" and such imitating artists would not be recognized as artists.
Even if they were, they would not get credit for their creativity or inspiration. Not following others and not imitating others is
therefore as difficult as writing philosophy or inventing something very new.
But once an artist becomes successful, we respect the
world of such artists.
Unfortunately, the landscapes that were presented in Korea have mainly been those that praise nature and regarded nature with
awe. These may have their technical merits.
Our landscapes are not overwhelming. They are simply serene, plain, and although they show color differncess in each season, they are very different from the West in photographs. Some say
that due to the difference in latitude and altitude, it is hard for Korean landscapes to come by the colors seen in Western
landscapes.
But what really is important for us? It is what we get out of our nature and of our lives. That is what must be expressed. And it is
the photo works of Bae, Suk-Yoon that answers with a quit voice. His photos are not as grandiose as those in the West.
Neither are
they extravagant. But they simply resemble the plain nature that we are used to. This, however, does not mean he blindly praises
our nature.
He simply enjoys our mountains and waters. But he doesn't just enjoy, brings them into his world, caresses them and
feels them. He doesn't try to imitate other great artists, instead he fills his films the humble things of his world. Although it may be
desirable to display passion, extravagance, or the luxuries of the Western world, he does net take pleasure in them but invites nature into his world, comforts it and makes it his friend.
This is why his
photographs are so special. As a matter of fact, the makes it his friend. This is why his photographs are so special. As a matter of
fact, the adoration and sternness of other amateurs are not found in his photos.
Rather than recording and displaying overpowering, admirable, remarkable, grandiose, beautiful things, he confirms his diverse and
deep emotional desires through landscape. By so doing, he strives to make life fuller. His photos are all forms and lines repeating
themselves, with a bit of unique color and light having common characteristics. His subjects are not limited to mountains, the sea,
land, mud, mud flat, grasslands, or snow-covered land. Nor does he try to satisfy the pleasure of vision by using the various
aspects of the four seasons.
But even if he does not use such formality, there is a virtue that can be discovered in his works. It is that he does not adhere to his subject, but watches his subject with flexibility and treats it in his own unique
way.
The landscape may have come toward him in the beginning, but before he realizes, his landscape has turned into a simple subject.
And before he know it, his inner landscapes came into place and started forming a certain rhythm.
That is why when we view his
photographs, they seem quiet and serene like a piano sonata. His unique and quiet character is melted entirely inside his works. This
plain quietness and humble character of the artist is perhaps what blends with the plainness of our mountains, our rivers, our nature
and brings forth harmony.
Written by Kho, Hyeong-mo
(Professor.dept.of photography & image, Chodang University)
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