Sze Tsung Leong Horizons
exhibition in Photograph Magazine
Sze Tsung Leong's Horizon's
exhibition marks the Mexican-born, British-American artist's forth show at Yossi Milo Gallery. Anyone self-described this way must be a child of the world. Indeed Leong has a way of defining and unifying place. He sets the horizon line of all views- landscapes and cityscapes- in the lower third of our field of sight. This plane is kept constant through all the images, and when on exhibition our eye floats from image to image as though there were no frame. Places don't only touch they begin to overlay and even confuse as we find harmonizing elements like shapes or tones in the works that make our eye's transition even more seamless. Triangles, for example, form a pattern when Meoto Iwa, Futami; Dashur; and Salar de Uyuni I
are seen side by side (follow Yossi Milo Gallery link below to view). Cityscapes too begin to look alike- a series of rooftops and alleyways blend one into the next. Even man and nature can stand in for each other- bathing figures in Sangam II, Allahabad
begin to look like the buildings in Canale della Giudecca I, Venezia
, as both figure and structure can be reduced to dots of color on a neutral horizon.
While places seem to co-mingle and elude any sense of singularity, we will find that if we do stop to enjoy one frame it is a clean and direct description. It is rooted and it is precise. Having experiencing the work as a group of images we can never forget that each belongs in one way to the other, and we begin to feel the work functioning on another level. It represents interconnectivity and reminds man, as Jordan G. Teicher says, that people ". . . have as much power to shape the landscape as nature itself," but man as an individual is also seen as miniscule. Another of Leong's images of a man "stooped over the banks of the Ganges," poignantly suggests that man can be easily "lost in the foggy expanse" of nature (Teicher).
For more information on this artist and his work, please visit Yossi Milo Gallery
Review in Photograph Magazine by Jordan G. Teicher here