solo show

공지사항 - 글읽기
TITLE : Review in Photominotor, 05/2016
DATE : 06/05/2016 15:31


Boomoon: Skogar & Sansu

Flowers Gallery / London / England

  • Boomoon: Skogar & Sansu /  Reviewed by Paul Carey-Kent / 31.05.16

    Unusually, Flowers Gallery dedicates all of its substantial east end space to a solo photography show, enabling a monumental presentation of the mid-career South Korean Boomoon. The large ground floor gallery holds landscapes, and the two upper spaces have waterfalls. The former are wintery Korean views from the series Sansu (쁬ountain water in Chinese), the latter are Icelandic cascades at Skogar. Together they make for a spectacular immersion in natural phenomena, due to both the elemental subjects and their scale of reproduction: some waterfalls are printed at over two metres high, and the forest snowscape Untitled #18134 is ten metres wide (that necessitates the use of six separate panels of glass which cast rather intrusive shadows where they join: a mis-step easily forgiven in the context of the whole show).

    The obvious reason to be drawn in, then, is the splendour of nature revealed, unified by the various states of water displayed from mist and cloud to driven and settled snow to crashing movement. It셲 evident that Boomoon has put in the time and miles with heavy equipment to engage with nature in difficult conditions, in the spirit of, say, Thomas Joshua Cooper. Yet, though that operates well in that way, the show셲 strength lies in three underlying factors.

    First is the fusing of sublimity with seriality, most explicitly in the black-and-white waterfalls. In contrast with Cooper, who셲 famed for making only one plate from each site he fixes on, Boomoon took 10,000 shots of the Skogar waterfalls across several intense sessions spent in the icy water at its foot. He whittled these down to 300 for a limited edition book; to 100 for a video presentation, viewable in the gallery foyer; and in conjunction with Flowers to ten for printing for display at 140 x 180 cm. Those ten are enough to surround a big room with black and white prints in which the images are edited in a counter-intuitive horizontal crop of the naturally vertical waterfalls. That emphasises their abstract qualities and like the use of black and white distances them from the conventional tourist shot. The minimalism only goes so far, though, for more palpably than a river stepped in you soon see that the same spread of falling water cannot be seen twice. Also upstairs are a pair of colour close-ups of waterfalls, pure water printed with such exacting detail that the flecks of white read as surface glitter.

    Second, such a concentration of liquid surface naturally recalls paint: perhaps abstract expressionism or late Hartung. And it셲 evident, looking back across Boomoon셲 various series, that he often has painterly parallels in mind. The snowscapes, particularly two of isolated trees such as so easily stand in for a figure in a landscape, cannot help echoing classical Japanese ink drawings. Moreover, I suspected at first that some sort of scraping process had occurred, reminiscent of Gerhardt Richter셲 methods. In fact, it셲 the effect of wind-driven snow captured in its movement across the trees. That also brings a facture to the forms, triggering an analogy with Clyfford Still셲 geologically jagged paintings.

    The third underlying aspect is reflected through Boomoon셲 background and location rather than being directly visible in the photographs themselves. His home city, Sokcho, is right on the northern border of South Korea, so he grew up in a politically polarised place. And though he has adopted the snappy abbreviation Boomoon, his full given name Kwon Boo Moon can be literally translated as 쁳o question (Kwon) Authority (Boo) and Power (Moon) and he feels that the denomination influenced his attitudes Indeed, Boomoon셲 earliest work was politically engaged and focused on the people now notably absent from his images. Put all that together and you can read the concentration on nature as an implicit critique of the world of man, and the use of border landscapes and depiction of transitional sites as a proxy for how natural wonders are corrupted or threatened by such human impositions as national boundaries as well as the more evident issues of occupation and pollution.

    Overall, then, Boomoon delivers the sublime with a triple dose of added substance.  


      reviewed for Photomonitor by Paul Carey-Kent


    Untitled No 2561,  Seorak, 2010 짤 Boomoon, courtesy Flowers Gallery

    Untitled No 2561, Seorak, 2010 짤 Boomoon, courtesy Flowers Gallery








    Untitled No 355, Seorak, 2008 짤 Boomoon, courtesy Flowers  Gallery

    Untitled No 355, Seorak, 2008 짤 Boomoon, courtesy Flowers Gallery












    Boomoon: Skogar & Sansu continues at Flowers Gallery, Kingsland Road until 25th June


공지사항 - 글보기
41   Opening at Flowers Gallery, London, 18/05/2016 06/10/2016
-   Review in Photominotor, 05/2016 06/05/2016
39   Review in Huffington Post, 19/05/2016 06/05/2016
38   AIPAD (The Association of International Photogrpahy Art Delaers) Show, New York, 14-17/04/2016 04/20/2016
37   Review on AIPAD New York in Don't Take Pictures 04/20/2016
36   Preview in British Journal of Photography, 14/04/2016 04/20/2016
35   Boomoon's work displayed at the US Embassy in Seoul 04/20/2016
34   Solo Exhibition "Skogar & Sansu" at Flowers Gallery, London, 18/05-25/06/2016 04/20/2016
33   Paris Photo 2015 11/09/2015
32   Boomoon's latest work at the Unseen Photo Fair, Amsterdam 2015 10/01/2015
31   Fairs in May 2015, with Flowers Gallery 05/31/2015
30   Feature Shoot Recommends: Top 10 Photo Events and Happenings in New York (Mar. 2-8) 03/19/2015
28   Wall Street International preview Boomoon. Naksan 03/18/2015
27   Solo Exhibition 01/26/2015
26   "Human Nature-Boomoon, Nadav Kander, Mona Kuhn" at Flowers Gallery, London 01/26/2015
25   "Naksan #4277" is Art Miami's Work of the Day, 2 Dec. 2014 12/03/2014
24   Boomoon "Naksan#4277" at the Entrance of Art Miami 12/02/2014
23   Photo Shanghai 2014 09/04/2014
22   Article in Wall Street International, Saturday 15 March 2014 03/15/2014
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