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This diptych revisits a childhood photograph of my brother and me, taken when I was two years old. By dividing the original image into two distinct panels, the work introduces a physical separation that mirrors the emotional and geographical distance that grew between us over the years.
The left and right panels echo each other in scale and composition, yet remain undeniably apart. This tension—between connection and separation, memory and present reality—forms the emotional core of the piece. The work becomes a meditation on how relationships evolve with time, especially within families shaped by migration and cultural shifts. The diptych holds space for both the tenderness of early childhood and the quiet ache of distance that follows.
Conversation II continues the theme of temporal dialogue through two figures placed side by side—my younger and present selves. Transferred childhood and recent images intertwine across their forms, while a pine tree and moon in the background symbolize renewal and rebirth. The meditative composition suggests identity as a continuous exchange between memory and the present moment.
Salpuri Dance, a traditional Korean folk dance originating from shamanistic rituals, features a solo performer using a white silk handkerchief with slow, fluid, yet emotionally powerful movements to express deep sorrow and then release it, embodying Korean aesthetics of restrained beauty and profound sadness. This painting represents my childhood in sadness and suppression, and my attempt to release it. The flatness of Korean traditional painting and the three-dimensionality of Western painting were combined to create a unique sense of space.
Fan dance is widely cherished for showcasing Korean beauty and heritage, and it symbolizes my recognition, acknowledgement, and celebration of the Korean beauty. I dream of being reborn into a culture of freedom, spirituality, and respect. I used mainly a palette knife to pursue a more abstract approach.
Standing dance is a basic form of Korean traditional dance that emphasizes improvisational, free-form movement. Its non-formalistic nature symbolizes my desire for freedom and spontaneity, as opposed to the rigidity of Korean society.
2025
Seungmu is a spiritual, meditative, or ritualistic dance performed by monks. Seungmu is now a nationally recognized Korean folk art, a secularized form of a Buddhist ritual dance. It symbolizes my yearning for the human spirit, a reaction to the materialistic tendencies in Korea, such as fierce competition and an emphasis on appearance. I incorporated the gestural and abstract marks inspired by calligraphy on the Monk’s costume.
My art journey starts with self-reflection on how my past experiences shaped my face. A person's face after age 40 becomes a reflection of their inner self, shaped by the joys, sorrows, attitudes, and moral choices they've made throughout their life.
This painting captures a moment when I was looking at my teenage daughter as she sat lost in her own thoughts. Her stillness held both the softness of childhood and the beginnings of independence. This piece reflects that moment of recognition, filled with both tenderness and a quiet ache. I attempt to hold onto that fleeting transition when a child becomes almost an adult, all in a single glance.
In this painting, I depict my youngest daughter knitting quietly. As I watched her, I felt a sudden sense of peace settle over me—a stillness that felt rare and precious. Her calm concentration filled me with pride, not only in her skill but in the quiet strength and gentleness she carries. The painting holds that moment, capturing the tenderness and grounding presence she brings into our home.
In modern society, there are enormous efforts to preserve our youth and beauty. In this painting, I remind viewers of the beauty in maturity and invite them to reflect on the ubiquitous vanity in our society.