Bohnchang Koo
Galleria Carla Sozzani presents the first Italian exhibition of photographs by the Korean Bohnchang Koo, featuring images selected from his series: 鈥淰essels鈥�, 鈥淲hite鈥�, 鈥淧ortraits of Time鈥�, 鈥淩iverrun鈥� and 鈥淓veryday Treasures鈥�. His explorations are focused on impermanence, the passage of time, and the disappearance of cultural heritage.
For the series 鈥淰essels鈥�, Koo photographs rare porcelains of the Joseon Dynasty (1392-1910). Visiting museums around the world, Koo brings back to life the memory of this exquisite white tableware, which he shoots on a white background with soft light. 鈥淚 tried to capture the point of view in which the vessel is more than just a precious antique, but a vessel carrying a soul with infinite capacity to accommodate the heart of the observer and of the potter. 鈥濃�� says the artist. It is the rescue of Korean cultural heritage and, at the same time, the possibility of transcendence into the object.
In Koo鈥檚 鈥淲hite鈥� series, the subject is nature, or rather those fragile signs that nature leaves now when the brightness is over: slender branches of ivy still clinging to the wall and dotted forms of creepers, pine needles on the snow, creating a new, unsuspected 鈥渃alligraphy鈥� that compel us to observe the beauty and the ephemeral enclosed in the simplicity of small everyday events, something we spend little time observing.
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Galleria Carla Sozzani presents the first Italian exhibition of photographs by the Korean Bohnchang Koo, featuring images selected from his series: 鈥淰essels鈥�, 鈥淲hite鈥�, 鈥淧ortraits of Time鈥�, 鈥淩iverrun鈥� and 鈥淓veryday Treasures鈥�. His explorations are focused on impermanence, the passage of time, and the disappearance of cultural heritage.
For the series 鈥淰essels鈥�, Koo photographs rare porcelains of the Joseon Dynasty (1392-1910). Visiting museums around the world, Koo brings back to life the memory of this exquisite white tableware, which he shoots on a white background with soft light. 鈥淚 tried to capture the point of view in which the vessel is more than just a precious antique, but a vessel carrying a soul with infinite capacity to accommodate the heart of the observer and of the potter. 鈥濃�� says the artist. It is the rescue of Korean cultural heritage and, at the same time, the possibility of transcendence into the object.
In Koo鈥檚 鈥淲hite鈥� series, the subject is nature, or rather those fragile signs that nature leaves now when the brightness is over: slender branches of ivy still clinging to the wall and dotted forms of creepers, pine needles on the snow, creating a new, unsuspected 鈥渃alligraphy鈥� that compel us to observe the beauty and the ephemeral enclosed in the simplicity of small everyday events, something we spend little time observing.
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