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Pigment print: ptinted on hanji(korean traditional hand made paper.
Edition of 5
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Note: Actual colours may vary due to photography & computer settings.
Woo’s World of Art
The expectation of Woo’s recent works is as always immense, as his work is often the center of discussion. The exhibited works give the viewer a chance to view his reinterpretation of the fine arts and to discover Korean modern history through re-photographing historically well-known people with modern people. The bodies of the pictures are textured with shiny pebbles, baptizing photography with the language of fine arts. The hundreds of colorful pebbles make the portrait look as if the entire surface of the photo is densely embroidered. They perform multiple functions -- sometimes working as a background and sometimes as a subject of the image. The pebbles, which are inorganic substances, receive vitality through Woo’s detailed photographing.
The “Here and Now” of traditional photography is destroyed by blending photography with fine arts and joining past and present. Is this really a photograph? This kind of confusion will be naturally untangled when the viewers see the artist now standing with the post-modern visual arts, which frees the medium from its usual confines. Viewers will feel relieved with the message of the round unitary world that dreams of the transformation of inanimate objects into revitalized animated creations. Best of all, the fancy and interesting elements of these works are in the hundreds of pebbles which are used as a background sketch. These pebbles add energy and color to the works like LEDs. It is the elaborated studium that artist Woo’s longtime effort, and viewers might have unexpected contact with punctum, which is probably in the detail of one of the portraits’ skin tone manipulated with various color of shiny pebbles.
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Based in: Korea
Chong- il Woo was born in Korea in 1957. He Graduated from the Pacific Northwest College of Art in Portland, Oregon, in 1982 and later obtained an associate degree in Photography at Portland College in 1986. Woo worked as a fashion photographer in the US, contributing regularly to Vogue and Harper’s Bazaar magazine.
Women of the Joseon Dynasty is an example of Woo’s reinterpretation of Korea’s modern history, which he achieves by re-photographing historically well-known people with modern people. The artwork also challenges its own identity because the photograph is textured with individually shot pebbles and gem stones.
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