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point but a qualitative state where past and future intertwine within the present. Park resists reducing photographic time to a
fixed instant. From works taken 13 ago to recent pieces, time in his photography operates as an inner layer within the flow of
durée. By encompassing both “before” and “after,” his images escape linear chronology. 2

Through this visualization of durée, Park reveals the multiple dimensions of time often overlooked in conventional
photography. Unlike representational images that symbolize time, Park’s abstract photographs materialize time as it flows
through consciousness.

Photography-Painting as Intentional Medium
Though Park’s work is grounded in photography, it expresses a painterly sensibility through deliberate gestures. He actively
references the language of painting—not only in composition but also in medium. His photographs are printed not on paper
or glossy surfaces, but on canvas. While glossy prints may obscure their materiality, canvas prints assert a physical presence
through the texture of woven fabric and the thickness of the frame. The image, freed from the flatness of photographic paper,
becomes not just something to gaze at but something to confront. This material residue amplifies the painterly effect.

Park’s approach is not to record reality, but to sense it—and through that sensation, to evoke the essence of objects and the
inner consciousness projected onto them. This is a form of intentional expression. The term refers to the direction of thought
or the act of imagining—here, it points to the layers of inner reflection Park projects onto his abstract photographs. The
abstract images, shaped by durée and its traces, touch upon the artist’s imagination and implications. For Park, who states
“to me, photography is painting,” the “painting” is an image onto which he projects his inner landscape—at once unfamiliar
and familiar. 3 Ultimately, this encounter with unfamiliarity—between ourselves and the landscapes before us—propels inner
consciousness. The distant “other” is intimately connected to the deepest self, the essence of being. Park draws from both
concreteness and abstraction, unfamiliarity and familiarity, photography and painting. This journey of perception does not end
in a moment—it endures within the consciousness of existence.

2. Bergson, same book, p.484.
3. From the author’s note.

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