Statement
I develop my work through a recursive methodology
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재귀적 방법론/Recursive processBeginning with Kim Whanki’s Cross Composition, I explore a different path: not the reduction of form into dots, but a landscape where diverse forms expand and interact. Two contrasting colors are used to clarify contour and structure rather than for color itself. This series later developed into two directions—ink paintings and works built through the contrast of two colors.
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십자구도/Cross CompositionBeginning with Kim Whanki’s Cross Composition, I explore a different path: not the reduction of form into dots, but a landscape where diverse forms expand and interact. Two contrasting colors are used to clarify contour and structure rather than for color itself. This series later developed into two directions—ink paintings and works built through the contrast of two colors.
Full note2023
흰 그림/White paintingFor White Painting (2023), I worked under the condition that only white could be used, shifting attention to support, boundary, and installation. Through shaped canvases with curved edges, I questioned the frame as a stable division between inside and outside. By arranging these works across the wall, I explored how painting could open onto and distort the exhibition space itself.
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2023
한 가지 색, 두 가지 색/one color, two colorsCreated during a three-week project at Boofy Seoul, this work consists of ink drawings on hanji temporarily fixed to steel walls with magnets. The installation treats each drawing as a relational unit whose meaning shifts through placement and combination. Small changes in arrangement produce new tensions and hierarchies, while the minimization of color brings contour to the foreground as the key structure of the work.
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2025
눈과 손에 대한 메모/Notes on the Eye and the HandBeginning with blindness, this note reconsiders painting through touch and sensory perception. It explores how images may still be formed without sight, and how visual impairment can reshape pictorial form. Ultimately, blindness appears not as absence, but as a condition that changes the relation between seeing and painting.
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물가의 새/Bird by the waterBird by the Water (2017) became the starting point for this body of work, as I returned to a bird image from nine years ago in order to understand why it had stayed with me.
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올치/cat
Olchi died at dawn, suddenly and without warning.
While my sibling cried, I found myself left not with tears, but with regret for the words I had spoken beside his body.
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