Minji Yi explores “the grey zone” in between fact and images

Photographer Minji Yi isn’t solely distinguished for her delicate but highly effective use of the digicam, it is usually her putting compositions and strange picture curation that seizes the viewer with intrigue. She takes pictures of issues which might be each seen and unseen, observing quiet moments and elevating them into emotive scenes by suave images. Usually, she makes use of pc home windows as frames for her stills after evaluating that “photography is no longer separate from our daily lives.” Utilising this digital motif with sophistication, the Korean photographer likes to overlap a number of pc home windows in her picture curation, making a floating impact all through her work and “showing a sense of image processing as part of [her] work.”

In her latest publication To Bury the Canine Correctly launched final month, Minji places collectively 79 pictures from two latest tasks throughout 144 pages of fantastically designed spreads. Printed by Munsung Printing, designed by Jeong Jaewan and edited by Kay Jun, the ebook is a end result of Minji’s work since 2015. In Gentle Quantity, documented in between 2015-17, the Seoul-based photographer captures the identified and the unknown surrounding her grandmother’s dying.

The evocative photographic essay is a contemplation of her grandmother’s life as she neared the top. A Korean Battle refugee, labourer and deacon who needed to transfer always, Minji displays on her grandmother’s nomadic existence as a “Korean woman who had to live a life of floating” by disconnected identities. Minji tells It’s Good That: “Photography is believed to be a medium which records an object or scene in the most truthful way, but there is always the grey zone which photography misses.” Consequently, Minji explores this liminal house, enjoying with inversions of sunshine and harshly cropped compositions to counsel the in-betweenness of the mission.

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