Breathing Lines (drawing)
My work begin with breaths. As observing breathing in and out, I draw the movement of it. The loop pattern in my drawing
comes out naturally following by the breath. It moves up and down with energy. It moves up and down with time. It moves up
and down with rhythm. It moves up and down regularly or irregularly. Up and down of breathing is the rhythm of life. Repeating
the rhythm becomes life's pattern.
Endless Connection (installation)
I tie thread endlessly. It is a natural act. I unconsciously start tying it an then my purpose becomes clear.
The Thread I work with is a means of expressing my idea and emotions. Metaphorically, I see thread are branches. I tie two thread
onto one, so one become two, two become four and so on. As I keep tying, my work get longer and wider. It grows enormously like
a tree, each branch connecting one generation to the next.
That is how life keeps going. Extending the length and width of my work
mirror how our lives succeed from one generation to our generation and from the past to the present.
The thoughts, speech, and behavior which define my character are largely formed in my inner world. This inner world has been formed
and affected by spirit of my parents, ancestor and Korean heritage. By connecting the thread from start to finish, I draw on relationships
that exist in my life get inspired by new thoughts and discover new connections. Everything is affected by everything else.
This is a reflection of life and the urge to live; we are unconsciously connected and affected by everything in our past and everything around
us. This is the endless cycle of life.
Self-portrait (collage)
My self-portraits are expression of myself, especially emotions that are hard to bear. I try to hold unendurable feeling and transform it into
images. Those feelings are generated by strong attachment, which comes from relationships with people and environment. On canvas, I
depict the feelings as space created by relationship between one object and another, or between object and background. I use rice paper, thread, acrylic on fabric.
One shape, a pattern with which identify strongly, predominates in my work. Why do I identify with a pattern? The repetition and limitation
of expression resemble characteristic of Korean women who learn stoicism and suppression of emotion are virtues. Such cultural norms are,
like my pattern, themselves endlessly repeated changelessly from generation to generation.
In my early work, I place variations on the shape over, under and next to each other, creating new shape, until the canvas is full. I painted or
cover overlapped parts with paper to emphasize the overlaps. Shapes are visible only as absence, and the background is enlisted in shape
definition. My work develops from describing to implying space.
Through both repeating and subverting patterns I learn about not only myself but also cultural, oral and spiritual chains that I seek to break.
My self-portraits are expressions not only of myself but also more generally of struggle, which we all share.
My work begin with breaths. As observing breathing in and out, I draw the movement of it. The loop pattern in my drawing
comes out naturally following by the breath. It moves up and down with energy. It moves up and down with time. It moves up
and down with rhythm. It moves up and down regularly or irregularly. Up and down of breathing is the rhythm of life. Repeating
the rhythm becomes life's pattern.
Endless Connection (installation)
I tie thread endlessly. It is a natural act. I unconsciously start tying it an then my purpose becomes clear.
The Thread I work with is a means of expressing my idea and emotions. Metaphorically, I see thread are branches. I tie two thread
onto one, so one become two, two become four and so on. As I keep tying, my work get longer and wider. It grows enormously like
a tree, each branch connecting one generation to the next.
That is how life keeps going. Extending the length and width of my work
mirror how our lives succeed from one generation to our generation and from the past to the present.
The thoughts, speech, and behavior which define my character are largely formed in my inner world. This inner world has been formed
and affected by spirit of my parents, ancestor and Korean heritage. By connecting the thread from start to finish, I draw on relationships
that exist in my life get inspired by new thoughts and discover new connections. Everything is affected by everything else.
This is a reflection of life and the urge to live; we are unconsciously connected and affected by everything in our past and everything around
us. This is the endless cycle of life.
Self-portrait (collage)
My self-portraits are expression of myself, especially emotions that are hard to bear. I try to hold unendurable feeling and transform it into
images. Those feelings are generated by strong attachment, which comes from relationships with people and environment. On canvas, I
depict the feelings as space created by relationship between one object and another, or between object and background. I use rice paper, thread, acrylic on fabric.
One shape, a pattern with which identify strongly, predominates in my work. Why do I identify with a pattern? The repetition and limitation
of expression resemble characteristic of Korean women who learn stoicism and suppression of emotion are virtues. Such cultural norms are,
like my pattern, themselves endlessly repeated changelessly from generation to generation.
In my early work, I place variations on the shape over, under and next to each other, creating new shape, until the canvas is full. I painted or
cover overlapped parts with paper to emphasize the overlaps. Shapes are visible only as absence, and the background is enlisted in shape
definition. My work develops from describing to implying space.
Through both repeating and subverting patterns I learn about not only myself but also cultural, oral and spiritual chains that I seek to break.
My self-portraits are expressions not only of myself but also more generally of struggle, which we all share.