2011-04-23 02:42:59 , Tuesday
As small boy one of my favorite memories was to see the ocean through the gum trees, it was a vision that brought great happiness, mainly because of the colours and still does to look at the ocean through the Japanese pines as Suma beach towards Awaji Island. This visions (memories) stemmed from traveling on family holidays near Bunkers Bay which is situated on the protected eastern side if Cape Naturalist in the South West of Western Australia, which is away from the strong southerly winds which stunt the trees near the coast, leaving the coastline in a semi arid state.
"Memory is the dairy that we all carry about with us".
Lee Min -Ho presents landscapes through various photographed moments that become visual memories, her images in a surreal way, appear like looking at ones daydreams, were random moments collide into a cohesive but ambiguous memory (vision).
"If the dream is a translation of waking life, waking life is also a translation of the dream."
For instance; in Lee Min - Ho's Portable Landscape II no.7 there is a beach with the ocean in the not to distant background, that becomes the top of the image, which appears to take the place of the sky in this sea of beach sand. And slantwise from bottom left to top right across the beach is the shadows of to palm trees, that appear like something Matisse may have cut of cerulean grey paper and place on top of the off whitish grey sand. Similarly there is the artist's shadow in the right hand bottom corner, looking like the famous historical photograph of Monet's shadow in the lily pond, were he was experimenting with painting the depth of light that could penetrate the pond. Juxtaposed against these current memories are past remembrances from another time and space, being the cactus in the case with an image of the sky placed into the top of the compartment, it's like one was asleep and dreaming of being on the beach, then out of no where comes some person one has not seen since childhood or a long dead relative suddenly comes alive, why and how these memories happen is phenomena but they do.
Min-Ho within this exhibition constructs these phenomena's of memories into sophisticated cohesive photographic artworks, not dissimilar to the way Belgium Surrealist Rene Magritte painted his but in a more idiosyncratic mannerism.
The quality of this exhibition and the ideas behind the imagery is well worth spending some considerable time viewing, so if your in Motomachi Kobe take time out to visit Gallery Yamaki Fine Art.