Korean photographer Jungjin Lee takes photos that are macabre and deeply textural and even a little dramatic. They have a slightly enigmatic, narrative quality to them. I think they are extraordinary. I love the idea of wind as a ‘character’ — after all, Woman in the Dunes of one of my favorite movies ever. From Aperture Foundation:
Known for her laborious, textural photographic process, Lee brushes liquid emulsion (“liquid light”) onto the surface of handmade mulberry paper. The texture of the paper and the gestural marks of the brush stroke create a unique painterly effect, which is beautifully reproduced in this, Lee’s first trade monograph.
Wind captures the ethereal quality of its namesake in a series of landscapes dominated by windswept expanses and foreboding cloud formations—panoramas that reveal an adventurous spirit, yet resist casual entry. Man-made objects, such as a dilapidated school bus, an old ruin whose ceiling is open to the sky, or wind-blown prayer flags, frequently appear marked by powerful, invisible elements. Metaphors for an internal state of being and the forces that shape it, Lee’s Wind landscapes are imbued with an elemental vastness, at once powerful and serene.
Liquid light! From Lee:
The images in the Wind Series represent my introspective states and thoughts. Out in the field, in the forest, or in the village, I am ready to press the shutter release when the scenery stirs my emotions and imagination. This moment of ‘absolute echo’ within myself travels through infinite time and space. That is, ‘Wind’ becomes my energy of free spirit. Vanishment and transformation. Sadness – yet another change. Wind is invisible and it contains more of inner thoughts than an actual fact or a definition. I don’t try to make my definite direction of wind in my works. That is why I like the title Wind. They are just landscape pictures…