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Légendes de gauche à droite :
1/ Myoung Ho Lee - 李明豪, 2+Tree - 树2, photography - 摄影, 2013.
2/ Myoung Ho Lee - 李明豪, 14+Tree - 树14, photography - 摄影, 2011.
3/ Myoung Ho Lee - 李明豪, 1+Tree - 树1, photography - 摄影, 2013.
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présentation - 展览介绍 :
Photos let us view a subject better and easier, and in a different light. It brings us closer to nature by showing us things we can’t readily see with our own eyes, and changes our thoughts and ideas. There is a photographer who shows us a small and calm part of nature that has the same effect on us as if we just read a lovely poem or a heard a great piece of music.
Myoung ho Lee set up a sheet of canvas behind a living tree, a white sheet spread over a desert where the sand meets the sky to create a horizon like the sea. Lee’s canvas represents two meanings of the word ‘aura’.
The first can be the energy surrounding the head or body of Christian saints. Representing holiness, blessings and glory, the Holy Trinity had a triangle aura, the saints and Mother Mary had a round aura, and survivors of persecution had square auras. A circle represents the heavens, a square represents the ground. A tree is a holy being that symbolizes the union of man and nature. Lee’s art is an act of sanctifying a tree living in nature. Everything in this world is worth that. Not one blade of grass is meaningless or trivial. The aura Lee gives to the tree reminds us the valuable thing that surrounds us.
One of the core values of traditional art was the ritualistic (idolatrous) value that stemmed from the rarity of the ‘right here’ and ’right now’ factor. The fact that art had an aura meant that it was revered and therefore impossible to critique. The instant we look upon the tree in the photograph is that tree’s aura and the aura of nature. Our being here, living this minute, this second, will pass. The aura Lee gave the tree represents life that has an end and the emptiness that even pain and hatred will disappear.
照片可以以不同于现实的方式表达和理解主体。即照片不仅可以展现用肉眼无法观察到的世界而让人与自然更加和谐，还可以改变我们所想象当中的形象及观念。有这样一位作者，他采用最自然和简单的方式拍摄自然本身，而给人留下如一首诗、如一曲和谐音乐般深深的共鸣。
李明豪在活生生的树后立起帆布，铺盖了广阔的沙漠边缘，使帆布和沙与天相接，形成大海般的水平线。置于自然中的帆布充满着让人浮想两种意义的韵味。
在基督教艺术中，表现围绕超越性存在的头或身上的光环般，作者在树后方布置的帆布，与象征性地表现天主的神圣、伟大、恩宠、光荣的手法是相同的。在此处，树象征人与自然的结合及相互统一的神圣的存在。作者的行为与对大地上的树赋予神化没有什么不同。也就是说，世上的所有存在都具有属于自身的价值。不管是一棵草，还是一滴灰尘，世上没有一件是微不足道的。即，作者通过作品中的一棵棵树所表现出的韵味，启迪着世上所有存在物的珍贵性。
传统艺术的核心价值之一可以说是唯“此刻、此地”所独有的礼仪性(崇拜性)。艺术带有韵味，则意味着艺术已成为崇尚的对象，而不可以被批判。当我们凝视通过帆布表现自身的作品中一棵树的此瞬间，便是大地和树所发出的韵味。我所站着的此地，我所活着的此刻，也只不过是即将消逝的现象而已。作者似无心地在树后布置的“光环”象征无法永恒的人生，即痛苦和仇恨只不过是虚无飘渺的、即将逝去的刹那而已。
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