Wu Yumo: Room Without a Clear View
Wu Yumo鈥檚 exhibition Room Without a Clear View takes place in a space akin to a traditional Japanese washitsu. The room has no glass windows 鈥� only translucent shoji windows that diffuses light like a veil, while photographs of clouds and rooms lie within.
Without a clear view alludes to a state that is neither opaque nor lucid, obscured and modulated by layered imagery. In folklore, the temporal moment between night and day is most susceptible to energetic hazards, yet simultaneously presents the possibility of rebirth. At this state of in-betweenness, both illusions and potentials might emerge.
Objects in this space are in flux: clouds can be dissipating or igniting; shattered glass can be hovering at a precarious angle without collapsing. The photographs are composed of plural states through the method of layering: the relationship of scale between the body and the room, ephemerality in the different times of recording, subtle augmentation or surreal shifts from reality through editing. This state of transmutation is represented by the ever-shifting forms of clouds, the trembling of hands while photographing, and the imprecise drifting of digital brushstrokes.
The work Semi-fictional Clouds and the Photocopies of Clouds buttons the two series together 鈥� the photocopies become coarse-textured mirrors, reflecting clouds while diffusing the room at the same time. In this room, without a clear view, solidity dissolves and light eludes, perceptions oscillate between concealment and revelation, illusion and imagination, potentials and impossibilities.
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Wu Yumo鈥檚 exhibition Room Without a Clear View takes place in a space akin to a traditional Japanese washitsu. The room has no glass windows 鈥� only translucent shoji windows that diffuses light like a veil, while photographs of clouds and rooms lie within.
Without a clear view alludes to a state that is neither opaque nor lucid, obscured and modulated by layered imagery. In folklore, the temporal moment between night and day is most susceptible to energetic hazards, yet simultaneously presents the possibility of rebirth. At this state of in-betweenness, both illusions and potentials might emerge.
Objects in this space are in flux: clouds can be dissipating or igniting; shattered glass can be hovering at a precarious angle without collapsing. The photographs are composed of plural states through the method of layering: the relationship of scale between the body and the room, ephemerality in the different times of recording, subtle augmentation or surreal shifts from reality through editing. This state of transmutation is represented by the ever-shifting forms of clouds, the trembling of hands while photographing, and the imprecise drifting of digital brushstrokes.
The work Semi-fictional Clouds and the Photocopies of Clouds buttons the two series together 鈥� the photocopies become coarse-textured mirrors, reflecting clouds while diffusing the room at the same time. In this room, without a clear view, solidity dissolves and light eludes, perceptions oscillate between concealment and revelation, illusion and imagination, potentials and impossibilities.
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