ARTIST STATEMENT
My paintings are explorations into the depth of the self, realized through gesture and the abstract gaze. The works consider the images and ideas that mark my journey into the spiritual and cultural dimensions of painting as a creative activity. My art practice blossomed while I was learning Korean characters in my youth and since then has extended across three continents and over two decades.
After moving outside my Korean heritage to Sydney Australia for graduate studies, I became more aware of the traditions of thought that formed the basis of my life and work. The vast contrast of these two different worlds initiated a new awareness and a deeper search for an understanding of who I am, and where I am. My paintings started to explore the idea of self as the most fundamental element of human nature; I tried to seek my identity as I examined human nature. I reflected on Taoism, Buddhism and Confucianism: these established the principles of natural energy in my painting.
In Taoism, the main concept is being in the middle, not being judgmental, and bringing forth spontaneously. It reflects my art process of meditation as an “abstract gaze”, which is a certain way of looking and thinking that prioritizes states of formlessness and energy (ch’i). For me, ch’i is the life force that animates and connects things. The resulting energy, or ch’i, helped in exploring the idea of self.
The repetition of seeking harmony between the conscious and unconscious mind is how I destruct the existing order to make formless space, I try to maintain the rhythm. This is where I find my creative mind; “In the immediacy of gesture,” especially the “moment when the gesture finds its own power.” As I have always been more interested in the substance of the brush stroke than its symbolism; I am concentrating on spontaneous gestures. At this time in my life, while I am not connected to the outside world, I have chosen to create a world of my own, where I can find the inspiration I am looking for. I find these moments of ‘making-earth’ at the time when the gesture finds its own power.
I have worked with a continued theme since 1986 yet my paintings have carried different titles: The Metaphysics of Being (1986- 88); First Face (1989-92); Objecthood-Intrinsic Space (1993-95); Seeing Through the Self (1997-98); Empathy Through the Window (1998-2001); Mountain Armatures (2001-02); Chunji-Changjo (Creation Series, 2003-05); Outside Sight (2006);and my newest works, “ Foreordained Gesture” (2007). Each period of work has been an exercise in personal exploration and learning, and preparation for another journey, relating to the human’s inner mind; that is a balance of empowerment and meditation, without using recognizable symbols, which relies on pure gesture.
In my recent paintings, I try to apply principles of natural energy as directly as possible, through spontaneous gestures, yet with a conceptual mind. I more enjoy the simple monochromatic space: impulsive black strokes in earth or charcoal tones, with engaging subtle colored and white backgrounds. I do not want the viewer to have any instant or prejudiced thoughts about my painting, rather I expect the viewer to respond emotionally to the abstract shapes, conceptual colors, lines and layers as well as to the way these elements are shared and related to each other.
My work is a contemplation of the spirit as it embarks on to the canvas and a conscious and unconscious step toward “Big mind”. Big Mind is a Buddhist concept of meditation resulting in a Zen like form of enlightenment and connectedness. I have found freedom through this process, as I have been willing to accept my roles and take control of my life. We all have a defined purpose, something that we were born to do, which gives our lives a meaningful direction. The freedom I have in my work reflects the freedom I also feel in my own life.