As an obsessive traveller, I comment on the changing
surrounding in my paintings, focusing on each region’s sociopolitical issues
such as abuse of power and cultural stereotypes. What I value the most is the
osmotic connection with the culture where I get immersed into, interacting with
people in daily lives and incorporating found materials as well as invisible
elements of a foreign culture into my creative project.
I strive to communicate with the locals by placing myself
within the context as one of “them”, and depicting people’s unheard stories
pushed aside from the History. The mural series set in diverse regions as well
as Mountain paintings bring forth the question of discourse and power in
History—the absurd glorification of authority figures as opposed to the brutal
forgetfulness evident in the case of local lives.
The gesture of adding layers onto the existing surface of a
wall or a used canvas, the practice I call “recycling,” shows that my interest
in the mixture of different identities is necessarily put before the
establishment of the artist’s ego as the autonomous self.
As I strenuously experiment with the traditional media of
painting and drawing, I refrain myself from setting any limits in terms of
style, varying from realistic depiction brimming with minute details of a
figure to highly textural visualization of abstract forms.