A Comparative Reflection on the Works of Bronek Kozka, Yao Lu, Yang Yongliang, and Lang Jingshan

As a contemporary artist operating in a world where the boundaries between nature and human-made environments are increasingly blurred, I often find myself introspecting on the paths treaded by previous visionaries and fellow contemporaries. As I reflect upon my work in this context, it is nearly impossible not to think about the ingenious shanshui montages of Yao Lu and Yang Yongliang, and how they starkly contrast and yet resonate with Lang Jingshan's layered compositions.

 

Unitiled, Japan 2023 B.Kozka

Lang Jingshan's works, rooted in a more traditional time, celebrate nature in its purity. His composite images emphasize serenity, aligning with the classical shanshui paintings. They bring forth an uninterrupted, harmonious relationship between humans and their surroundings, echoing a time when ecological disruptions were less evident.

 

Lang Jingshan, Spring trees and majestic peaks (Cunshu qifeng/ 春樹奇峰), 1934. (Photo courtesy of Long Chin-san Art & Culture Development Association).

On the other hand, Yao Lu and Yang Yongliang, through their intricate digital montages, have addressed the profound Anthropocene disruptions. They intertwine elements of rapid urbanization with the allure of classical Chinese landscapes, revealing the stark reality of environmental degradation. Their works do not just depict the contrast, but the integration of urban motifs with nature, suggesting a disturbing confluence rather than mere juxtaposition. In doing so, they unravel the disturbing truth about our dwindling relationship with nature, offering a critique of our times.

 

In drawing parallels with my own work, it's evident that while I, like Lang, might find solace and a source of reflection in nature, the pressing environmental issues highlighted by Yao and Yongliang cannot be ignored. Where Lang's works emanate a certain calm, Yao and Yongliang sound an alarm. But can there be a bridge, a synthesis of these approaches?

 

This brings me to my own journey. While Lang offered a peaceful coexistence with nature and Yao and Yongliang warn of our looming estrangement, perhaps my works suggest a re-engagement, a solution. Through my contemporary lens, I strive not only to highlight the challenges of our era but to propose a possible reconciliation. By engaging deeply with nature, by understanding its rhythms and intricacies, there's a chance for renewal. This is not just an aesthetic choice, but a call to action, an invitation to viewers to experience, respect, and work towards restoring the balance with the natural world.

 

Yao Lu, New Landscape 6 — Wine Boat on Pine Creek (新山水 六 — 松溪載酒圖), 2012. (Photo Courtesy of the artist Yao Lu)

While Lang Jingshan's works serve as a poignant reminder of a bygone era and Yao Lu & Yang Yongliang's montages starkly illuminate the issues of our times, my art hopes to offer a way forward. A path that not only acknowledges the challenges but also believes in the possibility of a harmonious coexistence between humanity and nature.

 

Yang Yongliang, “Time Immemorial — Sinking” (Taigu Shenshi — Chenmo/太古蜃市 — 沉没),, 2016. (Part) (Photo courtesy of the artist Yang Yongliang).

In expressing these reflections, there's a lingering concern that my optimism may come across as arrogance or naiveté. I recognize the weight and gravity of our environmental predicament and, in no way, intend to undermine its severity. Yet, in the face of such dire circumstances, perhaps even bordering on hopelessness, I believe that hope and proactive engagement are our most potent weapons. After all, without hope, there's a risk of inertia. And it's in this spirit of hopeful action, despite its potential naiveté, that I present my perspective. For it's not just about capturing and reflecting upon the world as artists, but also about inspiring change, no matter how incremental it may seem.

Hotham Heights, Victoria, Australia 2023 B.Kozka

Bronek Kozka

 Bronek Kozka lives and works in Melbourne Australia. Kozka has an ongoing involvement in arts education, he is a lecturer at the Royal Melbourne Institute of Technology (university). An ongoing investigation into the portrayal of remembered moments, through the tableau photograph, has lead to explorations of “real vs. fake”, the use of 3d scanning and much more fluid understanding of what we remember and why it’s important to us.

 

Kozka has completed a BA (photography), MA (Arts) and is currently a PhD candidate: “Perfect: Synthetic: hyper-reality, the re-staging of memory and the tableau”  looks at cultural theme parks, outdoor museums and historical re-enactment groups.

 

His images are constructed, be they physical room sets, 3D generated spaces (and characters) or other artificial spaces, such as the “Theme Parks” series. This “construction” based approach to lens based work has also informed his sculptural practice.

 

Kozka has exhibited in several group shows and award/prize shows, these include the national portrait prizes of both the Australia (2007+2009) and UK (2008), Albury Art Prize (highly commended), SCAP08 (commended) Scap09, Monash Gallery of Art Award (2008+2009) and the Hasseblad Masters Award 2008. Kozka's solo show include "Picturing Community: Ugunja, Kenya" (2002), "Auschwitz Revisited" (2005) and "The Best Years of Our Lives" (2009), Kozka has also been invited to exhibit a solo show at the Grand prix international de photographie de Vevey in September 2010, wining the Broncolor Award for lighting, running in the same month Kozka’s work is also to be shown at the Pingyao International Photo Festival in China at which he was honored with an award. In 2011 Kozka’s work featured at Chobi Mela, the Bangladesh photo festival. Works have been exhibited in Korea (Hanmi Museum of Photography) (2012), Italy (2012), Singapore(SIPF) and China (Pingyao 2012+13). His sculptures have been exhibited in Lorne’s Sculpture Biennale, WSSP with a major work to shown at Sculpture by the Sea (2016).

 

Kozka’s work was published by teNeues in the Hassleblad Masters Book Vol.1, they were “Sunshine House” & “Passion”. Kozka’s work was also featured in the Australian publication (Book), Hijacked: Australian & German Photography and Lumens Festival: Curating the Ancient City.

 

Kozka work is held in private and public collections in Australia and internationally. He is represented by MARS Gallery in

Melbourne & Bett Gallery Hobart, Australia and Clelia Belgrado Gallery in Genova, Italy.