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My recent work considers the intersection of image and word in
ways that brings new meaning to the visual space they inhabit.
Growing up writing both Korean and Chinese characters, I developed
sensitivity to these forms of ideographic and calligraphic writing
where the form of the character is as important as its meaning.
In high school and college, western art opened up a new imagery
vocabulary to me. My work has always crossed between these two
cultures of visual meaning and I have always felt at home in
the interrelationship between these very different visual
modes of
representation.
In my past work, I have explored various themes along the border
of western art and Asian pictorial space. In 1997, I went back
to my homeland of South Korea on a painting grant and studied
with master of Chinese and Korean calligraphy to further my understanding
of this ancient art. My work from that time exploded with color
and sensuous feeling combined with my growing awareness of the
struggle for basic rights and the obstacles faced by the women
of South Korea.
Recently, I have moved toward new forms of dramatic representation
of highly personal experiences in painting and collage that allows
me to reconfigure Hangul (Korean) characters and images into
what I consider intriguing and expressive works.
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