Bio

There was a girl who loved to draw creatures from fairy tales, even lost the time tracks. She looked like has a second nature, which was deep into the imaginary place where the creature's habitat was full of mythical creatures, and then she found herself as a creator or sometimes one of the creatures in there. As time passed, it was still her most favorable habit for working. She collects and researches something mysterious stories with characteristic creatures. Using the gathered data, she chooses an efficient way to express the specific creature. In that process, she learned to handle various media to emphasize the creature's mystical features. As a graduate majoring in Korean painting, she seems used to painting with lines. However, other than that, she does not fix the media because there are too many mysterious creatures and their origins, as much as the various media she uses appear to not make a limit for appreciating her works. Expressing with lines and varied material is a way to stimulate the imagination of her subject. That is because she only suggests the creature's form and impression, not a detailed description and figurative. In maintaining this method, she wants to complete her works in the appreciator's imagination.


Statement

All of my work has a basic concept called 여백의 미(Yeobaeg-ui mi), which means the beauty of blank space in traditional Korean painting. More detail to say, it can make you see the empty room as linked parts with painted parts. It is because my work subject is none other than those mysterious creatures. They only exist as records or orally transmitted, so they do not have exact shapes like restored dinosaurs. So, the concept of 여백의 미(Yeobaeg-ui mi) has to be a tool for seeing what does not exist. Then, in this way, the appreciators completed my work with their understanding, not following my intention. It leads them to imagine what it could be. That is my actual aim for appreciating my art.