(B. 1979)
The Path of Error #5
signed and titled 'Ryu, Jung Min The path of error #5' in English; numbered and dated '3/5 '5_2009'; signed in Chinese (on the reverse)
photo collage, chromogenic print diasec
200 x 100 cm. ( 78 3/4 x 39 3/8 in.)
edition 3/5
Executed in 2009
Monthly Photomagazine, Seoul, Korea, February 2010 (different edition illustrated , p. 111).
Contemporary Literature, Seoul, Korea, June 2010 (different edition illustrated, p. 162).
CAMERATa, Seoul, Korea, July 2010 (different edition illustrated, p. 33).
Stuttgart, Germany, Horvath & Partners, WinWin2009 "Indipating", 13 May-13 September 2009 (different edition exhibited).
Koeln, Germany, EXPO XXI, Cologne Art Fair 21, 29 October-1 November 2009 (different edition exhibited).
Busan, Korea, Space Bandee, The Path of Error, 11-24 December 2009 (different edition exhibited).
Seoul, Korea, Salon de H, Zero IN, 15 April-15 May 2010 (different edition exhibited).
Seoul, Korea, COEX, Korea International Art Fair, 8-13 September 2010 (different edition exhibited).
Seoul, Korea, SETEC, Korea Tomorrow 2010, 8-13 December 2010.
Hong Kong, China, CAIS Gallery, Hello Tomorrow, 18 February-18 March 2011.

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Felix Yip
Felix Yip

Lot Essay

Ryu Jung Min's eloquent comprehension of Pictorialism is clear in her soft yet graphic focus to create a romantic reproduction of nature; a photographic language that is balanced with the delicate aesthetics of eastern ink painting under her artistic sensibility. Ryu's tools for creation may be utterly mechanical and modern but her practice is traditionally attentive; she assembles three thousand photographs and harmonizes them in unity under her meticulous digital brushworks of Photoshop. For Ryu, 'The Path of Error' has two meanings: to lose the path; and to lose direction in life. Photography defamiliarizes daily life through controlled space and time. Everyday life in my photograph is like a cross-section of reproduced life, static between reality and fiction, reality and unreality.' Constructing roads of horizontal rolling slopes of snow, crossing each other, winding down or upwards in erratic pictorial shifts exude a sense of expressive spontaneity that oriental ink painting illustrated, with obvious symbolism for the unpredictable journey of life. By presenting multiple perspectives, Ryu stirs an atmospheric expansion of space to her vertical axis frame, deliberately disregarding a central focal point to emphasize the diverse aspects of life that come with surprising off course but all in nature, is merely a path of life.

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