.jpg?w=1)
Lot Essay
Min Byung Hun eloquently complements the silent magnificence of nature with his skillful capture of light and shadow. Using soft focus to create a meditative romantic reproduction of nature, his works show an influence of Pictorialism, the photographic term used to describe images that emphasize the artistic quality of the photograph, rather than the scene depicted.
The harmonious balance of lines, light and shade complements Min's understanding of the delicate aesthetics of an oriental painting. His stagnant landscapes offer a set still life, requiring the artist to obtain an ardent acuity. Min's artistic sensibility is revealed, as he explores the philosophical phenomena of things as they are perceived and the nature of things as they are. His sense for aesthetic concerning nature is depicted ingenuously, not by perspicuous representations, but through his genuine paraphrasing of the beauty of nature. To capture the absolute moment of nature as it is, Min undertakes a decision in the refusal of printing by mechanical process, as he believes the process removes the fragile emotions of his subject.
In both SL 121 (Lot 510) and SL 154 (Lot 511), the romanticized soft focuses of the subjects are visually unclear in order to accentuate the phenomenon that occurs within the artist himself. His spiritual practice of avoiding manipulation of nature or his work, allows his natural instincts to serve nature itself. Min's eminent control of light acts as paint that draws the aesthetic simplicity of his subjects. The graceful grey tones preserve the mute lyricism in his photographs, neutralizing the photographic mechanism and transferring it into a poetic work of art.
The harmonious balance of lines, light and shade complements Min's understanding of the delicate aesthetics of an oriental painting. His stagnant landscapes offer a set still life, requiring the artist to obtain an ardent acuity. Min's artistic sensibility is revealed, as he explores the philosophical phenomena of things as they are perceived and the nature of things as they are. His sense for aesthetic concerning nature is depicted ingenuously, not by perspicuous representations, but through his genuine paraphrasing of the beauty of nature. To capture the absolute moment of nature as it is, Min undertakes a decision in the refusal of printing by mechanical process, as he believes the process removes the fragile emotions of his subject.
In both SL 121 (Lot 510) and SL 154 (Lot 511), the romanticized soft focuses of the subjects are visually unclear in order to accentuate the phenomenon that occurs within the artist himself. His spiritual practice of avoiding manipulation of nature or his work, allows his natural instincts to serve nature itself. Min's eminent control of light acts as paint that draws the aesthetic simplicity of his subjects. The graceful grey tones preserve the mute lyricism in his photographs, neutralizing the photographic mechanism and transferring it into a poetic work of art.