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| Two folds of negatives - against reality | ||||||||||||||
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| March 11 - March 31, 2010 | ||||||||||||||
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| KDK, Taek Ki Min, Ye Leen Lee, Yujung Chang After fundamental objectivity of photographical image has collapsed, photographers tends to focus on viewers who criticize transparency or neutrality of camera taking basic ideology or photography itself as a realistic thing. They try to show fantastic world based on reality or surreal work derived from earnest daily life expanded from extreme inner side of self. Artists in this exhibition never symbolize fantastic or surreal world or express digital virtuality. They deal with common daily scenes and still-life. Though their picture has vagueness which it clearly delivers to the eyes while disturbing clear understandings at the same time. As commonness is dominating system in reproduction of reality, they are showing how common things could look unfamiliar through negativity of the form. Negativity of the form is criticism on faux revealed by virtuality. This criticism, in terms of realism that viewers regard reproduction as reality, is based on the faux that the image of reality is genuinely objective. Efforts to verify the fact that the image through lens and human eyes are different divides into two contradictory direction. One is to deny identical reality by creating surreal space through the artist’s photographic inputs like developing negatives and printing, adding physical or chemical mediums on the negative images, or digital fabrication. The other is through realization of quality of the plane. Photography, developed, printed, and published, act in a way of representation. Indeed, whether the object in reality is fabricated or not, the actual reality is denied on the photographic paper. Photograph is not lucid enough to directly deliver meanings as the artist has intended to. Viewers’ new awareness is going to be revealed when searching for hidden expressions exposed by photographic view what to deny or is denied among focused subject and shaken signification while paying attention to realism of the photography and virtuality of sculpture. Because photography chooses the most direct method using lens to be objective and transparent compared to any other mediums, it is excellent in terms of denying ambiguity in reality. These artists’ responses to two sides of photography, reality and virtuality, are what they wanted to deny with surreal subjects and ambiguous expression to accomplish their consciousness whether it is an attempted escape from parallels of some sorts momently after showing the methods, or as multiple ways for flawless reproduction of reality. I hope you to take this chance to look at how these attempts work in a way of formal quality of photography. Part 1_Against Reality KDK. Min, Taek Ki. Lee, Yeleen. Chang, Yujung Photography could be reproductive since it is a technology to create an images to inform subjects on the prints. One picture does not become an evidence pulling the conclusions of emotions we feel, daily life, or essence of the subject. Formation of image is genuinely to stand unreality. It denies and forms the world at the same time. Like an image on the painting is not completed by simple brush strokes but by physical balance of forms and colors seeking for another unreality, viewers are confused looking at the subject that is artificially added and deleted in the picture which presents rather directly and realistically. That confusion is not from reality but it is emotion in artistic virtuality. Now distorted pictures aim for a different thing from itself, from what we see, and from what really exists stressing on unfamiliarity and causing exceptional understandings. It is finding true meanings from discovered unreality. |
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