My artistic journey is deeply rooted in my studies of Western Painting at
Ewha Womans University (1993–1996) in South Korea. When I
immigrated to the United States with my family, I continued to develop
my art skills, not only, in painting, but graphic design. I did this through
my studies at Los Angeles Community College (L.A.C.C.) in California.
After I earned my AA Degree in Studio Art at L.A.C.C. I transferred to
Cal State Los Angeles University (C.S.U.L.A.) After, I earned my B.A.
Degree in Graphic Design/Visual Communication, I worked in the
industry as a professional Graphic Designer.
My art process has since evolved through a rigorous exploration of
texture. I use a variety of textures to create various patterns in some of
my paintings, such as, different types of hair combs. I love it when I am
carving a variety of patterns into the paint; discovering a natural,
mysterious quality in the marks left behind. These textural markmakings
are physical records of my being able to capture, on canvas, the
endless dance of creation. This endless dance of creation via textural
mark-making, I feel, is a force larger than myself. A force, when carving
these patterns, allows me to not only witness, but embrace, and translate
them, actively, onto the canvas.
Some of my art works are a profound exploration of how I see water; at
times, I perceive water as a manifestation of the Great Divine. That is
the time when water, to me, represents God; a source of both immense
power and deep, restorative comfort. This sense of deep restorative
comfort, can be seen within, some, of my water paintings. Along with
water, as my main theme, sometimes, I include figures, which opens up
the opportunity for interaction, between nature and the human form; at
other times the water, on its own, is supreme.
I focused the idea of restorative comfort in my painting, “Dance with Woman.”
Her dance movements feel as though she is being restored and
comforted by the gentle, continuous, rhythm of the water. In this private
moment she feels safe, free and in harmony, dancing joyously, under the
waterfall. The water has become part of her sense of freedom. They
seem to complement each other’s movements; in peace and harmony.
Perhaps, she is dancing joyously, within, the presence of the Divine.
This concept of connecting with nature, reminds me of how, I feel, if I
were given the same chance, to dance, freely.
I, also, use water as a symbol of protection and mystery, as seen in my
painting “Refresh”. This protection is seen in the form of a mist; This
light, water-mist, subtly engulfs several of the non-descript, figures. Like
in a bad, fussy dream. Figures, that are barely seen to the naked eye.
They are hidden in an environment of darkness; made-up of paints that
are cold, dark-blues with deep mysterious, shadows, waiting to be
awakened. This mist and deep colors are giving these spirits a quiet
place of comfort. A hidden place, wherein, they can secretly mourn, their
deep loss of loved ones. You may not see them clearly, in this work, but
you can almost hear their tears of sorrow and understand why they need
to find solace in being refreshed; are in need of restorative comfort.
My artwork is also influenced by the mass amount of water found in
oceans. Oceans are a divine gift to mankind, with its healing powers.
They have a mind of their own. They can be very safe and calm or
wildly chaotic and dangerous. In any case they are magical. Their waves
intrigue me and have influenced my art. When I watch the ocean’s
untamed, uncontrolled movements, I want to capture them on canvas. I
am awestruck by its divine power; its ability to freely move about,
unbound by mankind’s desire, to control its movements, for its own use
and pleasures. This sense of divine power and freedom is what my
painting “The Wave” is all about. Like the ocean I tried to be free with
my mark-makings, when shaping the waves. To capture this essence of
absolute freedom, I moved beyond traditional tools; I chose to paint with
my hands, allowing for a direct, tactile connection between my spirit and
the canvas. By eschewing brushes, I sought to emphasize the vastness of
the space and the raw, unfiltered nature of this liberation.