Photography is a medium that documents the world realistically. It is also work of reckoning and interpreting implications lent to the layers of represented signifiers. What I want to do through photography is to document the visible yet allude to the invisible. I can encapsulate nature, but grasping its true nature is not easy. I also feel it’s impossible to contain ‘the invisible’ with the camera lens to represent the world realistically. After several failures I begin concentrating on the sounds of nature and my inner self. I press the shutter according to my will at the moment, disregarding conventional techniques such as composition and depth academic photographs demand.
Captivated by snow and white, I wander a field, following my intuition without knowing what I have to photograph. I take photographs at random. I pursue spiritual freedom, departing from conventional composition. I trust ‘contingency’ stemming from intuitive angles, relying on my hunch. My camera at last begins capturing the boundaries between the visible and invisible, and some images inspire my mind.
When seeing photographs, viewers try to learn the messages they convey. My photographs can be said to be ambiguous images with no concrete objects or message, or abstract images composed of dots, lines, and planes. However, this simplicity and ambiguity refers to another expansion. I hope viewers can discover invisible or unintentional meanings through only part of these visual, perceptual scenes.
Wassily Kandinsky said “White is an absolute silence full of possibility. This is nothingness with youth: more exactly, nothingness before inception and birth.” My white is a blank space to fill and an utterance of my inner will to start something. It is a sublime silence and simultaneously an outcry. Snow becomes another eye to see the world in my photography.
— Jung Jung Ho