Constellation surveys
Boomoon’s photographic practices for over the past fifteen years. This
exquisitely paced summary offers an experience that is akin to seeing his work
anew. In this exhibition, Boomoon takes
us into the physical and psychological environments that he constructs through
his sequencing and combining of photographs and video works made predominantly since
the late 1990s. I had previously
appreciated the way in which Boomoon meticulously offers the best vantage
points - amongst the infinite possibilities of photographically capturing his
chosen subjects - in each of his series of photographs. With the presentation of each new body of
work, Boomoon has created an episodic journey of shifts in his photographic
investigations and an overarching sense of a constantly evolving artistic
enquiry. It is not until this finely
balanced survey book and exhibition that we could comprehend so well the arc of
Boomoon’s practice as a constellation of investigations and experiences of the
awe-inspiring presence of natural and universal forces.
The
choice of Constellation to describe this
thoughtful distillation of his work is both a literal description of Boomoon’s
celestial work that commences the exhibition and an apt title for his gathering
from his practice into an assemblage that is its own entity. The word ‘constellation’ is an invitation to
the viewer to hold each of the prompts and ideas that the work can engender in simultaneous play, becoming a cluster of equally meaningful
and connected visual devices. There are
three ideas in circulation throughout Constellation
that seem important to explore in more detail here. Boomoon creates works
of art that work on our imaginations in a faceted manner and in particular call
upon us to consider his artistic practices as photographic, material, and philosophical.
Boomoon’s
photographic practice is essentialist, both in his methodology and also in the anticipated
experience of the viewer as one where the nature of a photograph and what
photography can reveal about its ostensible subjects. Boomoon’s photographs are made with a definite
photographic position and his works convey the enduring idea of a photograph as
a true vantage point onto a physical subject and the role of the photographer
as one of seeking that most eloquent and clear perspective. Boomoon’s bodies of work share this implicit sense
of the photographer as our guide into the places from which we can observe the
world and respond to it. This essentialist
idea is amplified by Boomoon’s choice of the natural world as his subject and,
importantly, subjects including oceans, volcanic landscapes, and ice formations
that (by molecular and tectonic degrees) share a profound state of infinite change. Boomoon’s photographic narrative encapsulates the
sublime possibilities of crafting a photographic perspective that is fixed
enough to register the passing of time, whether perceptually too fast or slow
for the human eye.
The
physical experience of Boomoon’s photographs is thoughtfully crafted by him not
simply in terms of the viewer’s bodily relationship with the photographic
vantage point of each individual work, but also in the material experience of
his gallery installations. Boomoon has
deployed a variety of pictorial devices in the different series of works over
the past fifteen years that range from a simulation of a human, almost
empathetic engagement with the natural world to those that consciously disrupt
that certainty and construct highly disorientating and even non-human
perspectives. In some series of
photographic prints he uses emphatically vertical ratios that invite a
distinctly non-Western scanning by the viewer from the upper edge to the lower
foreground, proposing a vertical sense of time moving into the foreground and
the present. Similarly, Boomoon’s use of
horizontal panoramic ratios have narratives that tend not to read from left to
right but present dense foregrounds that foreshorten perspective into a shallow
horizontal plane. We readily feel at the
edge of vast, ungovernable and (despite their photographic clarity)
unintelligible natural forces. Perhaps
Boomoon’s signature formal device, pre-dating the earliest works shown in Constellation is the use of a graphic
and commanding horizon line that cuts midway through the pictorial plane of a
photograph. This device is represented
here most obviously in the On The Clouds skyscapes
and the Naksan seascapes, which tightly
control the recession of space within the photographic frame. The viewer automatically adopts and
identifies with the position of Boomoon’s camera.
It
is of profound importance to understand Boomoon’s capacity to create an experiential
space for the viewer and allow us to embody essential vantage points upon the
optical splendor and ordering of the physical world. Significantly, Boomoon’s camera perspective
does not simulate an overtly human scale or optical perspective. He goes beyond being a photographer who
offers us the sense of an omniscient but still human visual exploration of the
world. Instead, his acute avoidance of a
hyperbolic signature photographic style means that we are liberated viewers
that can move into, above and beyond the natural phenomena that his camera
explores, unhindered by an overbearing sense of his authorship.
Constellation’s
material experience is not only derived from the accumulation of viewing Boomoon’s photographic
investigations over the past fifteen years, but in the pacing of his work
through the physical spaces of the exhibition.
Just as Boomoon demonstrates his impeccable economy of means in each
photograph he creates and the number of images into which he distills each body
of work, the material experience of Boomoon’s exhibition is an important act of
restraint. By working with no more than
the essential number of sequences and individual framed photographs, Boomoon
privileges our experience of the relationship between his projects (the primary
‘constellation’ of this exhibition and book) that is set up as a dynamic ebb
and flow through Constellation.
Constellation begins with Stargazing (2013), an installation of thirty-two video
animations of night sky photographs made in various sites in the world. It locates the
viewer literally and psychologically within the concept for this exhibition,
immediately sensitizing us to the extent of the emotional and visual journey
that we are about to undertake. It is
significant that Boomoon begins this exhibition within a dark space,
illuminated by the night skies emanating from the LED screens, anticipating the
flow from night to day that will unfold in the exhibition sequence. On the facing wall of this first room are three
framed photographs from Boomoon’s Stargazing at Sokcho series made in the late 1990s,
depicting the tree tops and night skies above the city in the Gangwon-do
province. The illumination of these
night skies is a complex pattern of interference from clouds and the powerful
artificial light of the city below. They
are stunning images, in keeping with the theme of the first room of Constellation. But they are also an important statement at
the outset of this exhibition to one of the meta-narratives of Boomoon’s
artistic practice. While Boomoon draws
us into his experiential presentation of the natural world where the boundaries
are presented as photographic, Boomoon’s works imply also the modern and
contemporary boundaries that overlay the ancient sites, skies and vantage
points that he depicts. Sokcho,
represented in the three photographic prints in the first room of the
exhibition, is a city that has been under North Korean rule (from 1945 until
1953) and now South Korea’s entry point into the Seoraksan National Park. The inevitable but
not pronounced presence of a border point between North and South Korea is
carried into the second room of this exhibition where three of the six works are chosen from Boomoon’s
Odaesan (2009-2013) series made in the
fertile forests of Mount Odaesan also in Gangwon-do province. This same region
of South Korea where Boomoon has lived since 2001 is
also the subject of the two Sansu galleries, which are installed in the next rooms of Constellation. Boomoon consciously brings the visual
contradiction between political history, personal experience and geological
time into play in these incredible landscape photographs. The concept of time operates on a number
of levels and in the Odaesan photographs
we are initially drawn into the human-scaled idea of time within the work, of
walking into the dense foliage of the forest floor. Nature’s time is eminently complex in these
works, both seen as a network of organisms in rapid flux and growth, of which a
photograph can only represent a millisecond of its evolution. But Boomoon’s photographs frame nature’s state
of constant change as enduring and ancient.
Within this scheme, the idea of fixed and clear national borders is held
as profoundly at odds with both the human and organic material reality of these
landscapes, and the least consequential definition of these places.
Sansu
also depicts the
Seoraksan National Park in all its graphic detail in the midst of winter. Sansu I
describes the sparse branches and trunks of forest trees from the same relative
vantage point as their spring counterparts in this exhibition’s previous
room. Sansu II dramatically draws us way back into a position to survey the
vertical panoramic magnificence and
the horizontal expanse of mountains in Gangwon-do province. These
landscapes practically shimmer with the powdery clouds of snow that hover above
the dark, bare wood of the forest trees set against the snow-covered floor of
the landscape. We are kept perceptually
busy by the extent of detail and scope of all of these photographs, they are intense
and hard work for us to adequately register.
Photography is incapable of delineating scale, a characteristic that is
part of its enduring magic to capture degrees of detail and expanse that are
impossible for human vision to hold or even properly conceive of.
The exhibition experience of Constellation is well-paced to encourage a meditative state. We are moved next into On The Clouds, a sequence of nine dazzlingly abstract photographs
taken from a plane journeying across a thick carpet of cloud over the perfectly
blue atmosphere of our planet, and shown in this exhibition embedded within a
curved sculptural support. It is only
after the scrutiny we have been called to give the work in previous galleries
that we fully appreciate the level of mental concentration that these visualizations
can provide. Having metaphorically come
out of the night and into the day, up mountains and through seasons, we reach
the high horizon of On The Clouds and
have the experience of everything being in front of us.
We return to Boomoon’s black and white palette
and the sites of his predilection in the sixth room of Constellation. A group of three horizontal and four vertical
photographs depict the coast at Naksan
and across the sea towards Japan, the beach covered by a carpet of snow and the
lower half of each image becoming a two-dimensional shape and a voided
foreground. Three recent photographs of
a mountain shot from the same vantage point near Byeongsan show the
commencement of a snow storm. While this
room is a continuance of the close looking that Boomoon has already constructed
for us in this exhibition so far, a new facet is added, which is the activation
of imagined sound. The waves crash, the snow falls onto snow, the landscapes creek and crack
as the snowstorm commences and with this acoustic triggering via the
representation of the landscapes’ liquidity, we are sensuously within these
sites with all their unforgiving and non-human character.
In turn, the enveloping experiencing of these
liquid landscapes prepares us to engage with the hard and isolated boulders
that arrest us in the seventh room of Constellation. Principally in 2007 and 2008, Boomoon shifted
his practice to the remote landscapes of Iceland and Greenland. In this work, Boomoon demonstrates his
capacity to draw out the photographic, material and geographical strands in the northern hemisphere, creating
experiences for the viewer that similarly meditative and metaphorical as his
ongoing work in South Korea. The ‘stones’ depicted in the seventh room of this
exhibition are these curiously sculptural and discrete forms. They are framed
in the centre of each of Boomoon’s photographs as the totems or even guardians
of this unearthly-looking landscape.
Their solidity is juxtaposed with a counter-definition of this extreme and
remote part of our planet found in the final room of Constellation where eight vertical
photographs construct a panoramic view of an icescape in Greenland, alongside
discrete photographs of the glacial outwash plains of Iceland, where pale blue
ice formations reach the black volcanic sand of the seashores. This place is astoundingly beautiful and
fluid, and it is an emotional privilege to be led into the material and
psychological place to experience time and space that is not meant for human
perception.
It is through the concept of a constellation that
Boomoon brings us into the direct experience of his motivations and meta-narratives
that drive his incredible photographic practice. The idea of the constellation is also played
out in this exhibition as the character of the visceral and philosophical
journey that Boomoon maps out for us. We
comprehend one body of work through its connections with others, we become more
perceptive and open to the profound meaning of Boomoon’s photographs through
the related experiences of each room installation. We refine our understanding of deep and even
non-human time, change and perspective through the vantage points that Boomoon
offers us.