In BOOMOON SANSU & NAKSAN, Hakgojae Gallery, Seoul, 2011
Sansu and Naksan, the new solo exhibition of Boomoon featured in two independent spaces, displays an array of new works entitled Sansu and Naksan, partly shown in Korea and elsewhere since 2007.
The Sansu series is Boomoonâs most recent work and simultaneously a much expected vertex the artist has attained since the late 1970s, when he found his way into the photography of plain landscapes without any human presence. It may seem surprising that a theme as imbued with cultural and historical implications as sansu âa core concept in the representation of nature in Far Eastern aesthetics, which means âmountain and waterâ - was chosen by Boomoon, who adheres to a modernist stance, and thus pays attention to the specificities of the medium and emphasizes the sincerity of attitude and the immanence of expression. That is why it seems important to underline that Boomoonâs Sansu has nothing to do with the postmodern historicism or hybridization.
Boomoon has always considered the pursuit of photographic images as a methodology and as the result of "standing in front of the object." He compared the landscape with âa cloud afloat in the windâ: âit takes form in accordance with the receptiveness of my spirit and my capacity for interpretation. Fluid, it fluctuates; it is a process of exchange between me and the visible world.âÂč Therefore, viewing landscapes ultimately means discovering and reflecting upon oneself, and the images coming out of such an experience can be âa frightening, lonely mirror.â In traditional aesthetics, sansu was equally considered as the materialization of the Confucian value of ren, and of the Taoist value of tao. Contemplating and depicting sansu meant opening and purifying oneâs mind and soul. At the intersection of the traditional concept of âmountain-waterâ and Boomoonâs Sansu, dwells the idea of âimage as an attitude.â