Korean picture taker and photojournalist HaleLee Seoyeon astonishingly catches the Catch 22 of merciful separation in urban spaces. Enlivened by her cherished recollections, Seoyeon's photos are regularly divided, archiving shriveled hands getting a handle on at wallets, or the short physical touch between two arrangements of fingers trading cash at a magazine kiosk. Solitary business people gaze rebelliously at the group of onlookers, encompassed by a claustrophobic racket of confections, bites, and magazines. In the entirety of her works, there exists a basic compassion for the regular battles of humankind push into urban life. The craftsman is right now situated in New York.
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