His Work

Caucasso Lee Jun is a poetic as well as realistic photographic documentarian of his environment. Poetic as he picks up situations and reformulating them into feelings, realistic because he is not staging and shows what he traces.
„All day I roamed through the streets, highly agitated and ready to pounce, determined capturing the life in a state of aliveness. Most of all I longed in the confines of a single photograph to capture the essence of a process that was happening before my eyes.“ Henri Cartier-Bresson (from Susann Sunday About Photography p.175). Revisiting the understanding of Henri Cartier-Bresson is a good way getting an idea of the creative process of Caucasso Lee Jun, his approach and interpretation of capturing a moment in photography.
Lee Jun works similar to the, by Henri Cartier Bresson, discribed way. The precise observations during long walks through Shanghai, the Paris of the East, as well as traveling through Asia and regular stays in Beijing are the basis for his discoveries. Regardless what kind of unlikely situation he faces, or how fast his surrounding environment changes, regardless of whether he taking pictures of moving or static objects, it seems that life behind actions is reality or truth never without it is not banned on film. Lee likes to photograph public places, because he believes in miraculous moments, which are rooted in the reality he only have to trace. The aim to capture a process through a photograph, which Henri Cartier-Bresson appeals in the quote, is also a goal that is taken up and further developed by Lee Jun.

Due to Lee Jun‘s technique, which will afterwards find a brief explanation, he takes the photograph out of being a single image that represents a movement in conjunction with the increased representation of depth and space.
Lee Jun expose two same film materials simultaneously with the same type of camera in each hand (p.62), focusing freely from the wrist on the motif point. After developing the film material by himself, he is using a kind of sandwitch method during the enlargement on silvergelatine paper. By shifting both film negativs, he is looking for his individual focus. Depending on which part of the image he puts his focus, duplication and artifacts arise because of perspective, motion and time delay during exposeing and enlarging. Parallax, accommodation and convergence as part of human perception are simulated and artistic processed. Over the years he has refined his technique so far that one can say, that Lee Jun has begun to see the moment of photographic action throught two eyes.

The artist understands the photographic image as an object, the entire analog production process as a sculptural act. In this way one can understand that Lee Jun studied sculpture. All required photography materials, especially the cameras, film material, enlarger, paper, chemicals, as well as silver and light are involved in this process and part of an ongoing discourse. He understands photography as a whole unit and craft. An expression for the sculptural comprehension, next to only using an analog procedure, is the choice of only native Chinese-made film material and photo paper. The photographic material itself gets an image component in the form of film perforation, through numbers, and the image boundary. The material of the medium photography can be understood as a form giving design component similar to the material wood for a wood carver.

Caucassos images are therefore characterized by blurring, artifacts, duplications and the reduction to black and white. The images exude something nostalgic, the analog image development process is unmistakably part of the stylistic device. By these features, the effect of the photographic object as a carrier of remembrance is highlighted. It seems as if the images witnesses of a long past moment. However, it is not the mere illustration of a moment or object, no, it is the collection of the existence of the object in a living world. The reduction to black and white, causing the close juxtaposition of object, environment and people, understanding the world as a whole unit. This comes together with the philosophy of Lee Jun‘s life.

The images provide information about longings of human existence, according to inwardness as well as interpersonal relations, the existence of man and nature, of work and life, urban space and society. Buildings threatening a couple at the bottom of the picture (p.24), women looking searchingly expecting something in a deep hole (p.36), distorted faces having dragon-like structures (p.47), historical stones with deep hole witnessing a bygone society (p.23). This all seems mystically transfigured and is part of Jun‘s freedom of creativity. It hovers something intangible especially in his new photographs, something that sees man in relationship to nature. He seems to search for an analogy to remap the imbalanced relationship between humans and environment. These images can be a starting point for a play with thoughts because they are not liable to the simple representation of reality, but an interpretation of reality. In this way you can mystify and symbolize images or image series. Lee Jun creates two birds out of one which tries to escape its surrounding of concrete (p.15/p.56), and represents in this way the desire for freedom and togetherness. Dualities do not only having an important role in Chinese philosophy, but also in the photographs of Lee Jun‘s leading us to a strong tension up to political dimensions. From Chinese history of the Cultural Revolution transferred out into the events of today is „The Great Leap Forward“ (Politics of the PRC from 1958 to early 1962 under Mao Zhedong) a balancing act like the series of images of jumping Yvonne (p.45). By nakedness of his models Lee Jun is displaying the new social freedom, but he is also exposing the constant monitoring by the government. This interpretation is proleptic, but giving an idea about the sensitive view that let us discover the deep spirit and history of a culture.

We invite you to delve into the world of Caucasso Lee Jun to dicover a diferent culture as well as to re-discover the deep-seated fascination of photography in its original.