Artist Statement

Inspired by Buddhist cosmology's cyclical nature, I delve into spatial understandings and recursive patterns where worlds intertwine and circulate endlessly. My recent residency at the Sanford Underground Research Facility involved collaborating with physicists to explore "dark matter" and hidden realms on Earth, contextualized within the framework of Asian culture.

This experience enriched my exploration of interconnected scientific, cultural, historical, philosophical, and religious perspectives.

Recently, I have been fascinated by the history of visual symbols and iconic references from East Asia to the West via the diaspora. During the research, I found that there is not necessarily much existing historical, archeological, or ritual evidence supporting the history of Korean ancient mythology and how it is influenced by national consciousness.

By investigating insufficient historical references, I realize the lack of information stimulates my visual creativity, and I want to share it with viewers, whether it's sparking conversations or raising awareness about critical traces via trans-continental history. The work deciphers how the spiritual iconography is reinterpreted in my visual language and expands my creative pursuits across diverse dialogues that intertwine aspects of Asian art and the humanities.

During my research, I have become fascinated to study how nomadic and word-of mouth concepts have evolved and spread in an interconnected world, revealing the dynamic ways in which ideas traverse cultures and societies, adapting to new contexts while maintaining their core significance.

For example, I have found many similar elements of mythology and history between Ancient Joseon (?–108 BC), Central Asian, and European cultures, which have caught my attention and made me re-examine how to record illiterate and word-of-mouth mythologies as an artist. This practice inspires me to ignite artistic imagination and instigate a profound and historical excavation of trans-continental traces and nomads' worship and cultural exchange patterns.

To realize this vision, I plan to create a series of paintings, prints, and installations using imagery from various religions to illustrate how ancient beliefs influence cosmic harmony and divine presence. This practice will allow me to interrogate the formal aspects of what is architecturally defined as a form of chamber. Drawing inspiration from ancient tomb or chamber murals, my work aims to reconcile diverse elements and enhance understanding of cyclical and transformative existence.

Within an understanding of art, philosophy, and religions from each culture, I investigate hybridity and cultural fusion, such as common iconography and perpetuated concepts of cultural symbols using mythology, cartology, nautical technology, and ancient astronomy as references. Ultimately, I question how contemporary belief systems evolve from ancient traditions through complex processes influenced by history, culture, globalization, and syncretism.

The discussions I intend to facilitate will encompass a diverse array of topics, including questions such as how our belief systems have evolved since ancient shamanism, totem, and animism? How has it been transformed over history?  How have human beings developed the ultimate curiosity of unknown worlds through cultural exchange, cosmology, and religious ceremony?

During the fellowship, I want these questions to span from the intricacies of little-known Asian history and contemporary art practices.