Category Archives: Color

Noonbit Collection of Korean Photographer’s Works

This isn’t a review of a single book but rather a first look at a publishing initiative. Noonbit has embarked on an ambitious project of releasing a broad series of affordably priced books that expand the audience for photo-books in Korea: Noonbit Collection of Korean Photographer’s Works. The intent is for these books to be accessible, approachable and readable in the same way that novels or books of poetry are. These are nice but not lavishly produced softcover volumes with straight forward design. In late 2014 they released the first set of ten books. These ten will be followed with additional sets of ten books.

The first series of ten books is:

  • 01 DMZ, Koo Bohnchang
  • 02 The Southern Line of East Coast, Kim Geum-Soon
  • 03 On the Road, Kim Moon-Ho
  • 04 The Reason of Affection for a Walk / Zoology, Kim Bien-hun
  • 05 Daily Reduced Special Rate, Kim Jeeyoun
  • 06 Snow, Min Byun Hun
  • 07 National Song Contest, Byun Soon-Cheol
  • 08 Beach Kamami in YeongGwang, Shin Eun-Kyung
  • 09 Pumgeolri in Soyangho (lake), Im Jay Cheon
  • 10 Hands, Jun Min Cho

As may be apparent from the titles and photographers chosen, this series goes beyond simply making photography accessible: it plants a flag for a certain kind of photography: straight documentary. It also lays out an over-arching examination of “Korean-ness.” The following Wright Morris quote opens an unrelated book on landscape photography I’ve just begun reading: “The camera eye is the one in the middle of our forehead, combining how we see with what there is to be seen.” Here we have ten Korean photographers documenting different locations or subjects throughout Korea; the “how we see” extending across these books is the publisher’s vision. At a meta level, the totality of this series is (or will be) is Noonbit’s vision of Korean-ness and Korean photography. (It will be interesting to see the overlaps and divergences with the Korean photography overview project that Suejin Shin is working on.)

In a way, this series is a product of the digital age. It can be seen as a traditional media outlet’s response to websites and blogs like Lenscratch, Feature Shoot, burn or 500 Photographers. These sites present an even more affordable (free) and accessible (online, immediate) selection of photography that reaches across cultures, borders and styles. One might wonder why Noonbit didn’t make its initiative in digital space. Why not make this a long-running digital property like 500 Photographers except focused on Korean photographers? Why not make this a blog like Conscientious that presents critical context for the work?

Noonbit offers photographers the status conferred by the lasting nature of a physical book. A blog post may live forever in the cloud, but it is ultimately ephemeral, replaced endlessly by new content. A thousand (or a million!) people may see a blog post, but only as part of a flow of content. A book is an artifact in the physical world; its journey may touch only a few people but it will be a continuing fact for those people. Its physical state makes its impact longer lasting.

Both the digital and the physical have their value and their uses. I believe that an opportunity may have been missed in not making this series a marriage between the two. What rich opportunities for interaction could have been presented between the physical book and an expansive digital mirror? What kind of a community might have grown around the books? What conversations might have been sparked? How many more people might have been reached and touched by these works? The likelihood of the physical books making it to the West is slim, but a multi-lingual web platform or an app presented in conjunction with the physical books could have reached outside Korea creating a richly interactive environment to explore these photographers, their works and the contexts within which they exist.

As they are, the books are a wonderful introduction to Korean photography, or at least a subset of Korean photography. It would be wonderful if a retailer like Photo-Eye, Dashwood or the ICP’s bookshop saw fit to bring them to the US.

I’ll be writing about some of these books individually in greater detail at a later date.

(This post will be updated with images.)

Full Metal Jacket, Suejin Shin

This blog is a side project for me. First and foremost I am a working commercial photographer and a fine art photographer. Like many photographers, I am fascinated by other photographers’ work because of the ideas that it germinates in my own process. Photo-books are the primary means through which I do this.

Full Metal Jacket is not a photo book exactly; instead, it is a book of informal photographic theory seeking to tease out the cognitive and psychological elements underlying individual photographic processes. Suejin Shin brought together five photographers from different generations and different geographical locations with disparate working methods for a series of ten conversations over nine months. These conversations begin with a particular prompt and grow organically as the discussions unfold. From her introduction:

…the greatest virtue of art comes from raising questions. We began by talking shop, so to speak, about the concerns we share as artists using photography as a medium, swapping insights about our work and its limitations. We talked about what it takes to keep on producing work and why we are compelled to press on even when that spark is lacking. We asked questions to each other and found answers in ourselves.

Here then is access to the working thoughts of five of the best photographers and one of the best curators working in Korea today–or, for that matter, in photography anywhere. The photographers are Bohnchang Koo, Taewon Jang, Hein-Kuhn Oh, Oksun Kim and Sungsoo Khim. These names will be familiar to anyone who has even a passing knowledge of Korean photography. The work of most of these photographers have been discussed on this blog (1, 2, 3, 4, 5) or are in The Queue.

The book is broken into two volumes (supposedly sold together, though I purchased them separately from two different shops). The primary volume includes Shin’s introduction, a small portfolio of work by each photographer and three dialogs, one of which is broken into two parts. The book’s second volume is an English translation of the dialogs. The quarto sized volumes have softcover bindings with lightweight uncoated stock and very good reproduction quality. The design is simple and sparse–allowing the text and images to stand center stage.

The three topics of conversation are “Obsession: Where I Begin,” “Things That Dominate My Work 1 & 2” and “What Keeps You Working”. These three topics form a kind of operating manual for photographers. These are very much the topics that are central in books like Art & Fear, Core Curriculum or The Education of a Photographer, to name three that are on my bookshelf and ignore the dozens of others out there. What makes Full Metal Jacket unique is that it is in the form of conversations. This gives it a very accessible tone that makes engaging with the ideas under discussion easier.

This conversational form is engaging also because the reader begins formulating responses to the anecdotes being shared and questions being posed. One can feel the push and pull of personalities, too. I found myself at turns nodding and at others shaking my head. By way of example, in the first dialog abstraction and repetition are discussed. Oh says that, “Photography is an art form where where you take a very specific subject and make it an abstract theme by showing it repeatedly.” Shin disagrees with Oh’s use of the word “abstraction.” In my mind I reversed his assertion: that we take abstract themes and flesh them out by selecting, sequencing and showing very specific concrete subjects. That repetition is not making concrete subjects abstract so much as serving to make abstract ideas concrete. The discussion nudged me to consider not only how I might re-read Oh’s photographs but also how I might re-consider my own.

When I described the book I noted that each photographer presented a small portfolio of work or work in process. To this point, I’ve not mentioned these photographs because they are not what I feel is the driving content of the book. The photography is supplementary. It enlivens the conversation while grounding it in visual concreteness. Taewan Jang shows the work photographs that have since been published by Hatje Cantz as Stained Ground. Oksun Kim shows photographs pulled from the earlier Hamel’s Boat and some more recently published as The Shining Things. Sungsoo Khim’s portraits leave me flat while her tree studies are stark, haunting and ripe; they ought to be put into a book if they haven’t already. Oh’s “Portraying Anxiety” works are as fraught with emotional intensity as his previous portraits, though they visually blend with his Cosmetic Girls. I’d have preferred to see a larger selection of his in-process “2 Minute Portraits” that he discusses in the text. Bohnchang Koo shows a diverse range of photographs that highlights the full range of projects he’s working on and speaks about in the text. Objet 22, 2009 and Arm & Armor 03, 2010 are near polar opposites yet both wonderful and testify to Koo’s ability to assimilate anything into his personal oeuvre.

In most of the reviews that I write, I am seeking to place the work at hand into a cultural context and present a possible interpretation. This is the central functioning of criticism: to define what the work is and why it is of value (or not). In this case, Full Metal Jacket‘s dialogs do much of my work for me. I am, a bit superfluous, especially in regards to the second part of the critic’s job. I will close by simply recommending this book highly, if one can find it.

Full Metal Jacket
Suejin Shin with Bohnchang Koo, Taewon Jang, Hein-kuhn Oh, Oksun Kim & Sungsoo Khim
Assistant Curator: Youna Kim
Copy Editing: Jeongeun Kim, Kyoungeun Kim
Translation Korean to English: Yoona Cho
Design: Yeounjoo Park
Printing and Binding: Munsung, South Korea
IANNBOOKS
2013

National Song Contest, Byun Soon Choel

NationalSongContest_01

National Song Contest is like a self-similar view of Korea. One can extrapolate out from these photographs and examine nearly any facet of Korean culture. This is hyperbole, but this series of photographs from Byun Soon Choel has a definite fractal-like quality to it. And, perhaps most importantly, it is chock full of zany fun.

NationalSongContest_08The nominal subject of National Song Contest is contestants of the television show of the same name. Running for over thirty years, the show’s premise is much like “America’s Got Talent,” if that show were combined with a comedic circus act. Choel’s subjects are full of ardor; each is a uniquely live wire. Choel does not hold them back. He seems rather to push them into hamming it up for the camera–pushing them in such a way that their acts become archetypes.

Midday sun boosted by a pop of strobe bathes the contestants in bright, intense color and freezes their antics as they sing, dance and pose for Choel’s camera. Individual contestants and a handful of groups pose either before or after their star turn. They stand in fields, parks, parking lots, sidewalk niches, press stages and the occasional hotel hallway. These landscapes mirror and reinforce the numerous facets of Korean-ness that are suggested in the personas that the subjects project and the costumes that they wear.

NationalSongContest_03

These costumes range from classic to questionable with stops in eclectic bohemia, historical reminiscence, and K-Pop striving. There are hanbok and white tuxedo jackets; pink pants and floral prints; suspenders and athletic wear; sequins and plaids. There are fedoras and berets; rubber sandals and rubber boots; bonnets and afro wigs; sneakers and stilettos. There is even a muscle padded superman. These are combined in hilarious and unexpected ways.

NationalSongContest_02It is hard to reduce the project to a representative sample, so I’ll simply note one image that makes me smile. A haraboji stands on a foreground of astroturf with a screen of pine trees behind him that partially obscure a palace wall to the left and a row of low mountains receding into the blue distance to the right. His outfit is a chaotic confabulation of color, pattern and style. From the ground up we see: On his feet he wears bright red athletic cleats and red knee high socks. We can see that they are knee high socks because his loose-cut blue dress slacks are short, ending just below his knee. His pin-striped blue dress shirt has decorative stitching on the collar. Covering this shirt is a red lumberjack plaid sports coat; a mis-tied pink and gold necktie juts out from the jacket (with its tail spilling out below). He wears oversized round glasses and a blue and white bubble (floral?) patterned beret (or is it a shower cap?). His body is twisted in mid-gesture, and his face is screwed into the lead-in of another gesture. His hands are held gracefully, as though taken from a tai-chi pose or lifted from a Renaissance painting of saints.

This image, as well as any other from the project, brings to bear the full emphasis of joyful visual expression that the contestants parade before the camera. These folks are having a good time and they want you to see it.

NationalSongContest_05It would be naive to imagine that not one of these contestants harbors hope of fame or fortune through the contest, but it is entirely the joy of the performance that drives the photographs. If one were to shoot a similar project here in America, it would likely by tinged by an ironic sadness of the desperation for fame or the mocking overtones of the ‘loser edit.’ In contrast, Cheol’s lens affectionately finds antic joy.

The portraits are generally full page, one to a spread and captioned on the opposing page with the location and year each was created. The oversized volume is nicely printed and well designed, though the materials are hardly sumptuous. One wishes that the visual antics of the portraits might have made their way into the design, at least a little–Martin Parr’s Life’s a Beach comes to mind as an example of a publication in which the physical design took its cues from the photographs.

NationalSongContest_04One might be tempted to label and dismiss Choel’s National Song Contest as camp, but this would be a mistake. The loose typographical framework, reminiscent of August Sanders’ expansive People of the 20th Century, becomes a cipher through which Choel is able to decode the breadth of “Korean-ness”. It is not only the contestants and their personas that transmit this information, but also the details of landscape and location that are the backdrop of the portraits. Likewise, it would be a mistake to forget that the photographs are a cacophony of crazy performances being conducted in enthusiastic ernest for the camera. The photographs are, quite simply, a lot of fun.

National Song Contest
Byun Soon Cheol
Published by G Colon
2014

Korean Cultural Service currently exhibiting Hyung S. Kim’s Haenyeo photographs

As part of Asia Week here in NYC, the Korean Cultural Service is exhibiting Hyung S. Kim’s Haenyeo photographs in its Gallery Korea. The exhibit runs through April 10th.

To keep this post apropos to the blog’s main theme, a book containing these photographs is available.

More info.

Automatic Description, YOON Seungjun

AutomaticDescription01Yoon Seungjun’s Automatic Description is a book of car photographs. These photographs are not your everyday glossy advertisement for this years latest iteration of automotive desire. There is no glitz, no sparkle, no sex appeal. These cars are dead.

These cars are literally dead. Yoon has photographed junked junkers in junkyards. It would be a mistake to label this as ruin porn and set it aside with disdain. Yoon’s working method is more in line with the socially conscious impulses of Sebastião Salgado or Edward Burtynsky, though without Salgado’s humanity or Burtyksky’s grand scale. His photography is a critical examination of “the space and environment of modern society,” here that is specifically the junkyard behind the façade of contemporary automobile culture in South Korea. If it also happens to be visually arresting and aesthetically appealing so much the better.

AutomaticDescription02 Automatic Description is broken into chapters that build one upon the other. The book begins with “Anatomical Chart – appropriation,” a typological series of images of individual car’s under carriages shot against a black ground. These photographs reduce the automobile to its basic structural form, minus wheels. We see the body frame with the suspension structures, transmission, driveshaft, and exhaust systems hanging from it. With their wheels removed and reoriented in space, these automobiles are no longer vehicles but rather abstract forms. Looking closely, one can find narratives in the abstraction: oil leaks, broken drive shafts, scrapes, rust and burn (?) marks. There are stories in these forms however banal they might be.

AutomaticDescription03Chapter two, “Anatomical Chart – combination,” moves from individual vehicles to the aggregation of them. Vehicles are no longer individual stories. Instead, they interlock in stacks and heaps. Crumpled cars are crumpled in a pile. Hundreds of gas tanks are mounded together. Wiring harnesses are enmeshed in a chaotic singular mess. Pipes of every description writhe together like so many snakes in a pit. The singular story has given way to a history of multitudes. Yoon brings his camera in close for these photographs. We see no ground; the subject fills the frame. We are again seeing this automotive wreckage as abstraction.

AutomaticDescription04“Scraped Car Chart – parade” is the third chapter and takes us off into the new territory of documentary context. Yoon has pulled back to show us the space in which these cars are resting. We see the rows of racks and risers on which the cars rest. Some of the vehicles are half dismantled; others seem as shiny as new. Sunlight glints off of chrome and polish, still. In the middle of the chapter a gatefold presents a long panoramic image of column after column of junked cars. There are obvious joints in the image; it is not a singular panorama. Yoon has constructed this image–no different than we have constructed this entire infrastructure of disposal (such as it is). Just as the infrastructure of roads, highways and city streets has been built to accommodate the relentless drive of automobile culture so has an infrastructure been built to support the end stage inherent in consumerism. When millions are buying cars, millions are inevitable discarding them as well.

Yoon pulls back, once again, in the last chapter, “Scrapped Car Chart – Goryeojang.” Goryeojang refers to a historical custom in the Goryeo period of taking one’s elderly parents into the mountains and leaving them there to die. There was a movie with this title as well in the early 1960’s in which a son takes his mother to the mountains but breaks the custom by returning home with her. The photographs in this chapter are of cars junked in quasi-wild places. Cherry blossoms bloom above one wrecked SUV. A tangle of scrubby bushes grows up through a bright red wreck of a coupe. A luxury sedan has settled into repose on a hillside; it is surrounded by leafless trees of brownest autumn. A white SUV sits upended into a ditch; we see only its tail end with barren trees towering above it. In the chapter’s final photograph the wrecked hulks of a Bongo and Porter intermingle in the background; they are nearly obscured by the thick tangle of branches and new buds in which they have become buried. The organized infrastructure of the preceding chapter is nowhere to be seen. Instead, automobile culture has intruded upon nature. This intrusion marks a breakdown in order that, perhaps, signifies a culture losing its traction and sliding out of control.

AutomaticDescription05

As a member of the photography collective Dream Flower Factory (mentioned here), Yoon shares the collective’s socially minded conscious. This conscious is evident in these photographs. Yoon lures us in with the abstract beauty of the first chapters but is never himself seduced. The title of the fourth chapter makes his concerns crystal clear. Not only are we uncomfortable with the custom he references, but we then must transfer this discomfort to our car culture. We no longer leave our elders in the mountains to die; perhaps one day we will no longer leave our vehicular refuse in the woods to rust away either. If this comes to pass, it will not be a kindness to our elders that drives us, but instead a kindness to future generations.

Automatic Description
Yoon Seungjun
Publisher: Park Seonsoon
Published by: Photodot
July 1, 2014
Photo Edited by: Yoon Seungjun & Choi Yeonha
Written by: Choi Yeonha
Translation to English: Jaeeun Kwak & Grace Yoon
Designed by: Han Jeongyeon
Printed by DaeHyun Printing & Publishing

Pegasus 10000 Miles; Lee Young Jun

Pegasus10000Miles_01

Sometimes the most interesting photography books aren’t photography centric at all. One of the first books I wrote about on this blog was Seoul Essay, which used photography to illustrate and expand the written essays that were its core content. The photographs were nonetheless fascinating. Similarly, photography is only part of Pegasus 10000 Miles; written essays (in Korean only) are the primary content of the book. (I am, as ever, treading on thin ice writing about a book which I cannot read a significant portion of.)

Pegasus 10000 Miles tracks the journey of the CMA CGM Pegasus as it makes its way around the world from Dalian to Southampton (there is a handy map that shows both the route of the Pegasus and the route of the author). This ship functions as the central narrative, but the photographs and essays are not slavishly tied to it. The ship is simply an access point allowing for the entirety of sea borne global trade–historical and contemporary, to be examined and critiqued.

Since the text is lost on me, I will confine this review to a small selection of photographs and the workmanship of workroom’s design.

I bought this book, unopened, shrink wrapped and sight-unseen because of the promise of the cover photograph. A man in a red survival suit stands stiffly on a ship’s green steel deck. Behind him are a red cabinet containing a “fire hose & nozzle” and a red “Restricted Area” sign. The railings beside him and the wall behind him are stark white. It is a classic contemporary portrait redolent of adventure and modern mitigated risk. On opening the book, the promise is largely unfulfilled. There are few photographs as starkly clean as this portrait or as technically proficient. The greatest bulk of the photographs appear to be snapshots by an amateur with a unique amount of access.

There are four photographs that sum up the book. The first is a nearly abstract view of the ship heading into the sun. The sea’s undulating surface is dappled with light and looks almost like static on a television screen. In the curved wake behind the ship the surface undulates at a lower frequency and we can see the route the ship has sailed. The ship may be the subject of the photograph, but it is the metadata left in its wake that gives us the most information.

Pegasus10000Miles_02

The second image is taken from the ship’s bridge looking out across the rows of stacked shipping containers. The ship is coming into a port. Along the waterfront there are no less than 22 cranes for loading and unloading cargo. Several ships are already docked and being either loaded or unloaded. There are clearly many such ships plying the world’s waters and a complex high-tech infrastructure built around them.

Pegasus10000Miles_03

On the next spread we see another cargo ship, the MSC Savona, chartered out of Monrovia, coming into port in Hong Kong (or perhaps Xiamen). This ship is even larger than the CMA CGM Pegasus–it is twenty container columns across rather than eighteen. The ship takes up nearly the entire foreground of the photograph, one can barely see the sea to either side of it. Its stacks of cargo containers neatly echo the apartment towers in the background. Two related readings of this photograph that spring immediately to mind: The city as we know it today is directly tied to the global commerce embodied in these ships. Modern life–particularly modern urban life, is significantly defined by the consumer culture represented by these ships. Without global trade, modern life would not exist as we know it.

Pegasus10000Miles_04

The fourth photograph I want to talk about is of a man repairing some piece of machinery. He is perched awkwardly on a ledge and reaching into an oblong opening, which does not seem intended to be an access point. What at first appears to be blue wiring is actually nylon rope. To this point, nearly the entire focus of the photographs has been on the physical enormity of the ship, its advanced technological aspects and the complex system of ports and shipping lanes of which it is a part. Here we are seeing that for all of its marvels, it is still men who make these ships go (and who built them, for that matter). When something breaks, someone has to fix it. The photograph is one of only half a dozen or so photographs of the ship’s crew and the only one in which someone is actively doing something.

Even without the text, Pegasus 10000 Miles is a fascinating and charming glimpse into global shipping. If one were interested in shipping primarily and wanted facts rather than photographs, being unable to understand the text would be a greater concern.

Pegasus 10000 Miles
Lee Young Jun
workroom
2012

A Conversation with Kyusang Lee and Misook Ahn of Noonbit

MNM: This is Michael Meyer, the publisher and writer of KoreanPhotographyBooks.com; I am sitting here with Lee Kyusang and Ahn MiSook of Noonbit Publishing Co. as well as my wife, Ji Young Lee who will be translating and asking follow up questions. Mr. Lee and Ms. Ahn, let’s start with the easy questions: what is the history of Noonbit and your background in photography. Were you photographers, or editors, or, before beginning Noonbit, did you come from another division in publishing?

Kyusang Lee: Originally, what we studied was Korean literature and writing. As you know, every Korean male must serve in the army, so I did too. After I finished studying I became an editor in a publisher producing art books. My wife, who is the chief editor… Continue reading →

Exhibition: Boomoon at Flowers Gallery, NYC

Flowers Gallery on West 20th Street here in New York City will be showing Boomoon’s Naksan photographs. The exhibit opens this Thursday, March 5th, and runs through April 4th.

Boomoon published a monograph of this work with Nazraeli Press; I assume that this book as well as his other books with Nazraeli will be available for purchase (as will original prints!) at the gallery.

Shattered, Pyokisik

shattered

Writing about Sogyumo Acacia Band on SeoulBeats, Ambika describes Song Eun Ji’s vocals as “breathy but clear,” and concludes that “their songs are great for sitting back and enjoying the interplay of sounds.” These descriptions could be applied equally well to Pyokisik’s first book of photographs, Shattered–and the comparison is apt as Song writes the introductory essay for the book and the musical duo appears in several of the photographs.

Photography is a record of light on surface–but not simply the light reflected off surfaces before the camera. At its core, photography is the record of light passing through a lens’s optical surfaces and falling on the surface of the recording medium. (Ignore for the moment lensless and experimental photography.) Light is distorted at each link in the imaging chain. Pyokisik’s photographs show the world through surfaces that distort it or reflected in imperfect mirrors. The optical and chemical systems through which they are recorded cause their own distortions. There is a loose and casual snapshot quality to them. This is a personal narrative being subjectively delivered.

shattered 01

The photographs in Shattered have a deep atmospheric quality that plays on these distortions. The opening image is of a bush with the sky behind. It is distorted here and there by water droplets on a surface through which the photographer pointed his camera. A softness pervades the image. (This image appears on the cover as well.) The atmospheric show continues: Light through a wooded scene; flare turns the left hand side of the image to orange flame. A couple sits on a rock outcropping looking across a bay towards a city lit up in the twilight; a long exposure has blurred the scene and the point light sources bleed into the evening haze enveloping them. A woman’s hand holds a half-smoked cigarette; the middle of the frame is lost to lens flare while the top of the frame is out of focus foliage.

shattered 06

Song’s essay is nearly as abstract as the photographs to which it provides context. It can be summed up thusly:

…I have gained clarity in this such as: what am I able to do and what I am not able to do, or between what I think I know and what I do not know, or what I am interested in and what I am not interested in and lastly between what I like and what I do not like. Perhaps, I have come to know how to best reduce the energy of anxiety in my mind.

shattered 03

Clarity is not something that is in ample supply in Shattered. Song closes her essay with this line: “It will all be alright because nothing is stranger than the fact that something is missing in the world.” If we are to take Pyokisik’s photographs as the world, then there is much missing in or elided from them. They present a beautiful view of the world, however much it might be distorted. I am left, however, with questions: Given Sogyumo Acacia Band’s appearance in a handful of the book’s photographs, I wonder if Shattered is about them or if they are merely part of Pyokisik’s social circle? Is there an underlying psychological meaning? Is the anxiety and the hint of depression that Song writes about what ties these photographs together? Are they about being unmoored from the world, a pane of distortion separating the world and the self?

shattered 04

In the end, I am left with beautiful breathy images that toy with the interplay of light on and through surfaces. Many of these images would find a happy home on someone’s wall. Myself, I find an image of smoke in front of a window set in a concrete wall and reflecting a blue sky to be endlessly fascinating. The world is shown as layers of distortion, reflection and hazy elision.

The photographs in Shattered are beautiful, and the book itself is a lovely object beautifully printed on alternating signatures of coated and uncoated paper stocks and a stitched binding without boards. However beautiful, I do not know, quite, what it all means.

shattered 05

Shattered
Pyokisik
Edit: Jeong Eun Kim
Design: RAAH
Assistants: Hyunjung Son, Sina Kim
Printed in Korea: HeeWoo.com
IANNBOOKS
2011