To Those of Us Who Live Through Farewells

The photographer, Park Jin-ha, constructs architecture through imagery. Unlike artists who are swayed by fleeting trends, he remains steadfast in his convictions, venturing boldly into the unknown. His formative years, rigorously shaped by architectural design, have instilled in him an unrelenting intensity—one that draws him deeper into the realm of intuition. Yet, his approach is not one of mere instinct; rather, it is elevated by an inner serenity, exuding the discipline of a devout practitioner whose dedication borders on the spiritual.

The word "design" in its most literal sense refers to the act of planning in meticulous detail. In this light, his photography serves as a blueprint of sorts—an abstraction that resides between the interplay of reverent shadow and vacant space. And yet, his work is imbued with profound lyricism, even reaching a level of almost ineffable sweetness. Through his lens, we are reminded that architecture, like art itself, is an endeavour to reveal the unseen.

In this exhibition, his works present a subdued monochrome imbued with gentle tonal gradations—an aesthetic of quiet contemplation. Over these delicate shades unfold fluid, uninterrupted strokes; receding hues juxtaposed against geometric forms. Each colour and plane, as if possessed of its own sentience, appears to express emotion. Moreover, his photography sharpens perception, embedding reality more deeply within the viewer’s consciousness. As such, his images transcend mere documentation, striving instead towards a process of constructive insight—a perceptual distillation of their subjects.

A landscape is, at its core, an ephemeral experience. A striking landscape leaves a powerful first impression, while a familiar one lingers as an enduring aftertaste. Thus, any attempt to convey an impression of a place must contend with the complexity of understanding. No matter how remarkable a landscape may be, its effective capture relies upon the careful selection of vantage point and moment. The artist navigates the varied scales of the landscape with ease, a skill perhaps rooted in his architectural instinct to perceive space as a cohesive mass. Consequently, his works transcend the two-dimensionality of site plans, floor plans, and elevations, instead embracing a panoramic, omniscient perspective akin to architectural design.

For Park Jin-ha, photography is not an attempt to depict an object in itself, but rather an exercise in discerning how best to encapsulate it. He approaches his subjects with a measured detachment, ensuring that he does not disturb the intrinsic essence of the landscape. In this, his method is one of restraint—an unwavering commitment to preserving the quiet truth of his vision.

The Unforgiving Mechanism and the Threshold of Transition

In this exhibition, The Unforgiving Mechanism transcends mere depictions of softened landscapes; it grapples with the challenge of conceptual delineation. Park Jin-ha now stands at the threshold of yet another transition, tenaciously revisiting this question in pursuit of a firmer artistic resolution. The recent rapid advancements in photographic technology, which often dictate the trajectory of contemporary photography, present a new challenge—one that necessitates an approach beyond mere logical empiricism. The essential question is how photography might be elevated from a rudimentary study or a utilitarian technique to a methodical and conceptual approach of its own.

We often speak of capturing the essence of a subject, yet Park’s conception of essence does not reside in the object itself, but rather in the reality of absence. It is time we acknowledged this perspective. Every space possesses its own inherent language, seeking to narrate its story and to impart a unique consciousness—precisely because it embodies a life distinct from others. This is why the self-portrait of an architect may manifest as an unfortunate building, yet at times, as an architectural masterpiece. The imperative to remain true to oneself while leaving a cultural imprint is an urgent and vital question for us all. Before one can be an architect, one must first be human. The question is not merely whether we practise architecture, but whether we live as human beings, acting with purpose.

Architecture can no longer be judged solely on its aesthetic appeal; it is now scrutinised for the social narratives it conveys. It is for this reason that architecture, more than any other art form, is eternal—both physically and aesthetically. And now, Park Jin-ha, an outsider to the discipline, boldly invokes this notion of ‘eternity’ through his photography. In his images, even the smallest fleck of colour—imperceptible to the naked eye—serves as a crucial point of reference. To achieve this precision, he has designed and built his own equipment, ensuring absolute clarity and cohesion. Yet the unifying force behind his work is not merely a stylistic discipline, but rather his unique photographic technique, which transforms his images into a structured, emotional construct.

In his photography, one may discern an Eastern sensibility intertwined with architectural principles founded on structure and order—a discovery that will undoubtedly delight the observant viewer. Perhaps this is why, in an era of relentless cycles of creation and dissolution, he meticulously captures even the tiniest spores and particles, embedding traces of time into his work. Through this, he presents an existential paradox to those of us who live in a perpetual state of farewell.

Architecture often emerges as a proposed solution to the challenges faced by cities—torn between development and preservation, greed and capital, bureaucracy and regulation, the vanity of landmark pursuits. Yet within this complex interplay, architects, developers, and construction firms engage in an unseen game of strategic manoeuvring. Park, however, has ascended to an almost transcendental state, capturing the city with a direct and unwavering gaze. Each weekend, he shoulders his heavy equipment and embarks on a photographic journey, deriving a profound sense of fulfilment akin to that of an architect who regularly visits a construction site. Perhaps it is the anticipation of encountering the ever-changing cityscape that he continues to cherish.

Within his frame, the scale, form, and balance of the city cease to be points of contention. Even the towering structures of capitalism, reaching ever higher, appear humbled within his vision. This single fact alone elevates his work beyond outdated expressive abstraction; instead, it bears witness to an unrelenting, fragile truth—one that is nearly unbearable to confront. Yet what truly defines his artistic position is the presence of a sacred, almost ineffable reality lurking within his compositions. At times, he even records its precise geographical coordinates, further anchoring his work in the tangible world.

His photography never seeks to challenge nature. It is, in the purest sense, a reverent homage—a transcendental imitation born from an intimate communion with his subject.

By Kyungtaek Lee (CEO, Urban Architecture Ltd.; Director, Kim Swoo Geun Foundation)

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