Black Square Painting

Based in Seoul. Studied in London. Studied Fine Art in London, Fashion & Textile in Seoul. Main materials for my works are Retro-reflective fabric or mirror instead of canvas, thread and fabric instead of paint in order to experiment with flatness of painting. Result of imperfect and fortuitous happenstance, that flexible material and repetitive stitching activities bring, emphasise properties of the materials. Thickness of the materials are overlapped, and it makes gaps and shadow. Reflective fabric meets the phenomenon and creates changes of colour and texture depending on angles of viewers’ sight. The process by human’s eyes and hands with soft material could not be perfect. Imperfect lines make a figure, imperfect figures make an impression. An action is derived from the first action, and the next action follows. Linked reactions derive each other, and the interaction becomes one impression. Unclear shaped repetitive lines which seem to have no purpose minimise the recurring thoughts. Gestures are builded up by repeating imperfect and unstable activities like physical meditation. Material releases the energy with light, and viewers try to discover it through their physical movement. The artworks complete at the interactive moment that an artist’s gesture meets with the energy, viewers’ movement. I consider the method and material of my artwork is suitable to express my idea and communicate to audience. However there is still questions in terms of realistic and physical time. I believe that it would be great time to devote myself to the work and to study to find out next step, If I take the chance from the program. I intend to make phenomenon by accumulating repetitive activities and the image which is the result through the process. The phenomenon is conveyed to the audience with all the process as time and space. In addition, I make it as medium to deliver composure rather than perseverance and suffering from the the process like asceticism to them. That’s why I use simple form of lines and geometric figures, but I still consider there should be attempts to reduce the overwhelming feeling the labour brings. Experiments will be carried out to find out ways to convey not only the texture of the material but also the sounds through making video in order to capture the time and the gestures of the process. Also I have a plan to digitise the yarn, fuzz and colour of the fabric and thread to print on the fabric.