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ARTIST STATEMENT My work can be defined as the interplay of colour, pattern and texture. Colour has always
been a driving force in my work. I enjoy the relationships between colours and the effect it has on emotions. I tend
to use a range of solid colours preferable complementary to create intense colour relationships. I am also
interested in the visual energy and rhythm that are created by abstract patterns and uneven texture. On the one
hand, I’m playing with my materials; I’m manipulating forms, colours and textures within a piece to evoke the
senses and emotions. On the other hand, I’m subconsciously revealing my cultural background, creating a hybrid
of Eastern and Western aesthetics. The concerns in my work are situated in the formal issues of composition and
design through which I am trying to evoke a response from the audience and to create a dialogue.
My colour sensibilities are strongly influenced by my Korean heritage. I tend to unite each piece in saturated
colours that can be evidenced in Korean garments, cloths as well as everyday objects. Over the last few years I
have become especially interested in the textile called Chogakpo which is a form of Korean patchwork originating
from the 14th century when Korean women used up their scraps of silk, cotton, ramie or linen from making clothes
to make wrapping cloths and covers. These cloths were used for wrapping many things including precious articles,
clothes, and also for covering tables of food. Chogakpo was made by sewing remnants of small pieces of cloth
together with a multitude of crossing lines not unlike quilting. Scraps were sewn together with little regard for
pattern or color and yet they are beautiful abstract designs that might bring to mind perhaps the images of
modern paintings as that of Piet Mondrian. Each design is unique and of its time.
Since last year I have been creating a series of miniature tapestries inspired by Chogakpo. In Squares and Such
series (2006) a similar uses of bright colours and geometric patterns evidenced in Chogakpo are revealed in which
I utilized the combination of cotton and wool yarns. In my weaving I use commercially dyed yarns and threads,
mostly working in cotton, silk and wool. In my tapestries I tend to utilize different thicknesses, luster and texture
of yarns in an attempt to add another visual dimension. My intention for this series was to create a visual simplicity
of Korean Chogakpo designs with a playful element of lines that evoke gesture drawing. In all of my work, I enjoy
combining the elements of order and disorder in which they develop a variety of potential meanings that are open
to interpretation.
In my current series of tapestries I am trying to reinterpret the colours and shapes of the traditional Chogakpo. For
the series called Open (2007), I am focusing on creating simple geometric patterns through the subtle
juxtaposition of colours and shapes. I am also experimenting with open and closed shapes that form patterns of
strange landscape or figures that induce different moods and interpretations. My intention in this series is to
extend a dialogue between the maker and the onlooker in a meditative way.
Similar to the Chogakpo series my other recent work deals with connecting with my roots, my Korean culture as I
become more aware of the issue of identity in my work. This has led me to the series of weavings that reference
Asian calligraphy. For Undecipherable series I have been focusing on creating abstract patterns that emphasize on
movement and rhythm, and interplay of lines to form a balanced whole. My overall goal was to again achieve
visual simplicity and to create patterns as unique as in handwriting.
I anticipate that I will continue to explore the relationships of colour, pattern and texture in my work through the
weaving techniques. In combining these elements my goal is to create compositions that will enrich and stimulate
the senses and suggest many possible meanings. I am going to remain receptive to outside influences and
inspirations from the work of others while being true to my Korean heritage.
been a driving force in my work. I enjoy the relationships between colours and the effect it has on emotions. I tend
to use a range of solid colours preferable complementary to create intense colour relationships. I am also
interested in the visual energy and rhythm that are created by abstract patterns and uneven texture. On the one
hand, I’m playing with my materials; I’m manipulating forms, colours and textures within a piece to evoke the
senses and emotions. On the other hand, I’m subconsciously revealing my cultural background, creating a hybrid
of Eastern and Western aesthetics. The concerns in my work are situated in the formal issues of composition and
design through which I am trying to evoke a response from the audience and to create a dialogue.
My colour sensibilities are strongly influenced by my Korean heritage. I tend to unite each piece in saturated
colours that can be evidenced in Korean garments, cloths as well as everyday objects. Over the last few years I
have become especially interested in the textile called Chogakpo which is a form of Korean patchwork originating
from the 14th century when Korean women used up their scraps of silk, cotton, ramie or linen from making clothes
to make wrapping cloths and covers. These cloths were used for wrapping many things including precious articles,
clothes, and also for covering tables of food. Chogakpo was made by sewing remnants of small pieces of cloth
together with a multitude of crossing lines not unlike quilting. Scraps were sewn together with little regard for
pattern or color and yet they are beautiful abstract designs that might bring to mind perhaps the images of
modern paintings as that of Piet Mondrian. Each design is unique and of its time.
Since last year I have been creating a series of miniature tapestries inspired by Chogakpo. In Squares and Such
series (2006) a similar uses of bright colours and geometric patterns evidenced in Chogakpo are revealed in which
I utilized the combination of cotton and wool yarns. In my weaving I use commercially dyed yarns and threads,
mostly working in cotton, silk and wool. In my tapestries I tend to utilize different thicknesses, luster and texture
of yarns in an attempt to add another visual dimension. My intention for this series was to create a visual simplicity
of Korean Chogakpo designs with a playful element of lines that evoke gesture drawing. In all of my work, I enjoy
combining the elements of order and disorder in which they develop a variety of potential meanings that are open
to interpretation.
In my current series of tapestries I am trying to reinterpret the colours and shapes of the traditional Chogakpo. For
the series called Open (2007), I am focusing on creating simple geometric patterns through the subtle
juxtaposition of colours and shapes. I am also experimenting with open and closed shapes that form patterns of
strange landscape or figures that induce different moods and interpretations. My intention in this series is to
extend a dialogue between the maker and the onlooker in a meditative way.
Similar to the Chogakpo series my other recent work deals with connecting with my roots, my Korean culture as I
become more aware of the issue of identity in my work. This has led me to the series of weavings that reference
Asian calligraphy. For Undecipherable series I have been focusing on creating abstract patterns that emphasize on
movement and rhythm, and interplay of lines to form a balanced whole. My overall goal was to again achieve
visual simplicity and to create patterns as unique as in handwriting.
I anticipate that I will continue to explore the relationships of colour, pattern and texture in my work through the
weaving techniques. In combining these elements my goal is to create compositions that will enrich and stimulate
the senses and suggest many possible meanings. I am going to remain receptive to outside influences and
inspirations from the work of others while being true to my Korean heritage.