Imbued with his experience as a soloist in the National Ballet of Korea, photographer BAKi now choreographs his photographic oeuvre with an implacable precision and expressiveness. While his style can be linked to the tradition of “Dance Photography” as initiated by Arnold Genthe (1869-1942), BAKi transcends the role of the photographer. His work isn’t about capturing the aesthetic of an instant or rendering the essence of a dance through the prism of his own vision. Mastering both disciplines, dance and photography, BAKi submits our eyes to his inner energy and unfolds it in space. These landscapes of transitory intensity are mapped through three series entitled “Ink”, “Shadow” and “Vision”. With this in mind, his creations can be understood as a place where the expression of the dancer’s movement can be initiated and further developed. Each gesture’s modulations and polarities creates a character which the artist enhances in his studio through a rigorous command of the set-up. His photographs are staged like ritornello or interludes where he orchestres bodies in convolutions or interlocked in geometrical patterns.
Sometimes free from all muscular tension, sometimes constrained and controlled, BAKi stalls the dynamic flux of his models from their context only to replace them in an alien environment; the dancers transformed into keynotes evolving on a music sheet, the tutus become flower petals, their traces calligraphic strokes. Just like Rudolf Laban (1879-1958), BAKi investigates the body not as a vehicle of movement and emotions, but as a malleable and sensory medium instinctively comprehended by an imagination inherent to both a personal as well as a collective history. Influenced by the aesthetic of Lois Greenfield, he however manages to detach himself from it by merging movement, scenery and photography in order to articulate a unique pictorial language relying on aphorism.