Micro-Landscapes of the AnthropoceneMain MenuMarginal WorldsPlant WorldsAnimal WorldsAmy Huang, Natasha Stavreski and Rose RzepaWatery WorldsInsect WorldsBird-Atmosphere WorldsContributed by Gemma and MerahExtinctionsMarginal WorldsSam, Zach and AlexE-ConceptsAn emergent vocabulary of eco-concepts for the late AnthropoceneSigi Jöttkandt4115726eb75e75e43252a5cbfc72a780d0304d7d
A Marginal Painting
12022-09-24T15:11:22-07:00Sigi Jöttkandt4115726eb75e75e43252a5cbfc72a780d0304d7d309862plain2022-11-20T19:42:46-08:00Sigi Jöttkandt4115726eb75e75e43252a5cbfc72a780d0304d7dYun Hyong-keun's marginal paintings, such as this large-scale canvas featuring meditative bands of umber and ultramarine paint, evoke feelings of that which is secret or concealed not in the "subterranean worlds" but in the "crevices" of things, in the boundaries between dark and light shadow. Here, a small smudge of paint at the bottom left of the painting is instinctively anthromoporphised into a human figure overwhelmed by the walls of stone on either side. For the little smudge of humanity, he is constrained by the immensely immovable and the inevitable forward. He exists because there is just enough room for life, even in this desert-like place. Like in subterranean worlds, there is a sense of isolation and restriction not by pressure or force or land above, but on either side. Darkness here is continuous in the parallel and vertical, not in the horizontal, and elicit its own sense of separateness. The human is largely insignificant, and the viewer can only understand the enormity of that which is outside the human and the non-human by appreciating not only the spaces of light, but of blackness, too.