I studied painting at Hongik University (BFA, 2016) and subsequently earned an MFA from the Pratt Institute in New York (2018). I recently completed a doctorate in spatial design at Hongik University in 2024. My ongoing research and artistic practice explore the intersection of fine art and spatial concepts. Through continuous experimentation, I investigate embodied senses within meaningful memories, achieving depth through transparent layering and distributed vision via fragmented color sculptures. Reflecting the inherent ambiguity of memory, these memory sculptures, rather than possessing defined forms, seek to unearth and express the sensory experiences, emotions, temperatures, and sounds held within the body’s recall.

Like a picture diary, I collect fragments of memories. It all starts with small objects: seashells picked up from the beach, stones found on the side of the road, dried paint on palettes, and worn-down pencils. People attach meaning to these small things and hold them dear. We are all collectors of memories, creating stories in our minds from the fragments we find. Even if they cannot be fully drawn out, these collected memories exist with indelible emotions and sensations, remaining as meaningful traces.

My paintings begin with a small trace that opens the door to memories. I pay attention to the materials I use, raising the topic of co-evolution with the environment. The fabric I use is woven linen, rather than canvas, and the thick texture on the canvas is made from pieces of paint collected from palettes or garlands. I also recycle various objects in my work, such as plastic pieces, buttons, and threads.

The images in my paintings reveal a dreamy sense of depth, even though there is no specific shape or perspective. I use dreamy pastel colors and tactile textures with unclear forms to express the sensations and emotions experienced with the body that exist in memory. The colors of the surface and the colors from the back of the surface mix in the eye, reducing the flatness of the canvas and creating a calm charm in the work.

The production process starts with fabric selection. To achieve diverse surface textures, I avoid traditional cotton canvases and instead utilize hemp cloths and woven fabrics of varying thicknesses. Jute is currently my primary framing material, and I select fabrics with different weaves depending on the artwork’s size and style. For some pieces, I combine different fabric sections through sewing, adapting to the specific form I’m aiming for.

I then apply color. Paint is mixed with stone powder, and various thickening agents are applied to the fabric. The interplay between the fabric’s properties and the viscosity of this mixture creates a textured, mesh-like layer. The base’s texture and color evolve with each repeated layer and color variation.

To enhance depth, I employ a technique where paint is allowed to seep through from the back of the canvas. This allows the viewer’s eye to mix the colors on the front and the fragmented colors visible from the back, rather than the colors being physically premixed. This approach is intended to add depth to the painting and accentuate the materiality of the surface.

 My visual language is built by combining objects that represent traces, as well as through direct painting. These objects are either time-worn, reflecting the theme of “trace,” or designed to maximize tactile sensitivity. Examples include thread-wrapped objects, objects incorporating small pieces of plastic, and brush-touched objects which I repurpose and reinvent daily.

I pay attention to the materials I use, raising the topic of co-evolution with the environment. The fabric I use is woven linen, rather than canvas, and the thick texture on the canvas is made from pieces of paint collected from palettes or garlands. I also recycle various objects in my work, such as plastic pieces, buttons, and threads.

It’s incredibly rewarding when people connect with my paintings and find inspiration in them. For instance, I was deeply touched to hear that a lady happily purchased my artwork on a 12-month installment plan simply because she loved it so much. Knowing that my work brought her such comfort and joy made me truly happy as well.

<Endless>, Acrylic and mixed media on hemp cloth, 81 x 117cm, 2023

“Waiting” evokes the memory of a beach scene, a place where something lies abandoned. That object waits for its owner, a wait that could stretch indefinitely underground if they never return. Meaningless things are easily discarded, and the slower they decompose, the longer their lonely vigil. This is the fate of the abandoned. Through this image, I aim to highlight how modern society’s environmental problems stem from our habits of readily assigning and then just as readily discarding meaning in our consumption-driven lives.

The water, a prominent landscape feature in the work, represents interaction and circulation. While seemingly depicting a simple everyday scene, it carries a deeper message: nothing exists in isolation. Just as I see myself reflected when I look into water, every action has a consequence. The work serves as a reminder that our actions can return to us in some form at any time.