Among the countries that contribute the most to reconsidering westernization patterns, South Korea reveals its great creative drive in almost all fine-art fields, such as cinema, music, visual arts. Since then, the artist has developed a unique reflection on time and landscape in photography.Īfter Pakistan, Spain, France, China, Morocco, Iran and Japan, Stills of Peace 2021’s journey continues discussing and searching for knowledge among different world artistic cultures this year it’s South Korea’s turn, a country of a millenary culture always considered as a sort of bridge between the “Asian tigers” China and Japan. It was during this time that she developed her printing method, while she wandered the American deserts over five years, resulting in the series The American Desert (1989-1994). She studied photography after she moved to the United States in 1988. While studying ceramic at the college, she had self-taught photography as well. Her large-scale images are defined as much by their subjects as by the way the black and white film grain merges with the dense paper, resulting in a richness of visual and tactile information that is rare in contemporary photography. Painstakingly printed onto hanji paper – a traditional Korean handmade material –, Jungjin Lee's (1961, Daegu, South Korea) photographs invite prolonged study, in stark contrast to the instant consumption of photographic images that has become hegemonic in contemporary media.
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