Connected Installation

Art is closely correlated to our lives. There can be neither good art nor bad art. There is nothing but art. When I produce a work, I try not to have any feelings or expectations, and I try to listen to what the work itself is purely about, not what I ask for like a mother who wants to listen to her child carefully. I also enjoy the interventional, sequential process in which matter's spontaneity influences the work's direction. The stories of my paintings, such as figure skating, which slides on the ice on its own, or automatic technology drawn on its own without realizing it, are not intended. Rather than a big dream of changing the world with art, I love the tight concentration of working time and the happiness of being now enjoying the process. This simple statement is the beginning and the end of my philosophy that the outcome is not the artist's responsibility. It's like saying Laozi is useless. We use bowls, but we actually use the interior space divided by bowls. We build walls, but where we live is the space inside. It is our mind's consciousness that divides acts into useful and useless. So my work begins with clarity of what lies beyond that dark band, and we are amazed at the greatness of the vast universe that extends beyond our vision and human power indefinitely. As an artist, I explore the infinite possibilities of color and the various senses it evokes: silence, comfortable, sometimes intense, and stimulating. I try to work with the artist (I) on such art that time, space, and situation all coexist. I work as an artist who feels delicate energy, sensitive emotions, and vibrations of reactions. The various materials and artistic media I use come from my experiences and memories. The overall harmony of materials becomes a complete work with the sum of new materials. I approach my practice by questioning and excavating my subjective memory, spirituality, and socio-political realities. As for the medium, my love for acrylic paint and embroidery is evident in my treatment of abstract painting surfaces. The texture and material of each fabric, the volume of embroidery and the texture of the paint, the layer of overlapping prints, and the overall harmony of the materials become the sum of the new materials and finish a completed work.