My artworks shape the appearance of emotions that arise in human relationships under the theme of ‘Covering Up’, ‘Showing Up’, and ‘Greed’ and ‘Rule’. Through these set of series, the inner feelings that we experience in our relationships are expressed. These are some of the questions I asked myself while working.
What kind of person am I?
Am I a selfish person or a good person?
Do I hurt others’ feelings?
Do I support others emotionally?
Ask yourself these questions and it will help you see into my works better.
My artwork is expressed as an image through an aesthetic ‘echo’ that begins with a consideration of nature and artificiality. I felt the problem in the modern society where people make nature degraded to their means of use for reckless development. This problem has led me to focus on the relationship between nature and artificiality, and thus, established the artistic value of my artwork. Nature and artificiality is the relationship of co-prosperity. There is nothing independent and isolated in the world we live in. Everything coexists and they exist only in the forms that directly or indirectly affect one another. If there is something to give, there must be something to receive, and vice versa. In the other words, everything is in circulation, and we have to live by attitude of conformity about them.
Just as order exists in chaos, there is bound to be a proper ‘Equilibrium(均衡)’ in everything. The moment any of them is broken, the law of nature is broken. The direction of my artwork is to constantly ask questions about how important it is to conform, adapt and maintain the law of nature.
I research on texture and wave. The dreamlike forms, such as the feeling of the wind flowing and the rising of the smoke, inspired me. Accidental association and deep observation made it possible for me to express abstraction. For example, ‘Fire’ expresses the flames burned when viewed from the top of the blazing fire. Gold powder is used for exaggeration and red powder (Bunchae) is laid on Korean traditional ink (Muk) and glue (Agyo) cleavages. It is the result of working with a warm but potentially dangerous feeling of fire. 'Amsan' borrows the images of rocks and waterfalls using the 구륵 Method and blue, violet, and green are added to make them look like traditional Korean paintings. My work expresses the world I observe with emotional colors and brush strokes. At the boundary of conception and abstraction, I encourage the viewers to think different from my intention and expand their thoughts.
Nature that the viewers see is not just a still image like a photograph or painting. Similarly, emotions changes and flow as time passes. For example, when the sun is falling down, it radiates red and yellow lights, and blends with the blue sky. With time, it will all disappear eventually. Thus, I observe not only the shape but also ‘temporality’ of the objects and landscapes. Through my works, I dissolve and reorganize this phenomenon. Since there is no clear form, my works naturally took the form of abstraction. This is where “the boundary of the forms” comes in. It is expressed as an intermediate process from formal figurative painting to abstract painting.
A landscape with colored abstraction is the ambiguous state which becomes the image I want to express.