A respiratory exchange between the viewer and a bamboo forest.
‘Through the acts of very close looking and capturing on film, Minyong Jang relishes the discovery of all manner of perhaps otherwise unnoticed visual poetry. His films are also significantly about the advantageous juxtaposition of one image with another, the resulting one-plus-one adding up to considerably more than two. Take, for example, the clear sense of closure at the conclusion of The Breath, his just-completed film. All of the shots until just before the end result from the camera having been hand-held and pretty much always in motion. Jang seems to be saying, “Let’s just explore this small bit of nature and see what we discover.” At the end of the film, however, all motion stops. The highly abstract images from the now tripod-mounted camera, along with Jang’s precise editing, tell us without fanfare that the end is at hand. He thus subtly creates what musicians call a perfect-authentic cadence, the ultimate sense of closure. All of his work is about the unique kind of silence that film viewing sometimes engenders. What we are offered in these works is not just silence in the usual sense, but rather, the opportunity to experience the kind of concentrated absence of sound that lets our minds flow into their own silent and/or sonic realms.’ — Charles Boone, San Francisco Cinematheque