My goal is to present work that expresses the Korean/American subconscious identity, as opposed to a tokenized, flattened version of myself only defined by an imposed dichotomy of East vs. West. While criticizing and comparing ways that events of historic trauma in the past can exist simultaneously with the present(i.e. family photographs, war memorials, and memory rituals), I attempt to understand the complex, multigenerational Korean ethos that defines my parental upbringing and subconscious decision-making. My identity as an artist and a pseudo-shaman especially allows me to change and manipulate the energy and affect emotions accumulating in the spaces my work inhabits through ritual, folk painting, and purifying; by appropriating different methods of memory and healing, and personifying perpetuated systems of war oppression as figures in painting, I can construct a safe world where the languages of in-betweens is used freely.
The projects I choose to work for express a need to give back to marginalized peoples and communities. I am always eager to acquire new skills and techniques to create timely designs in an ever-evolving cultural landscape, which isn’t always inherently designed to be accessible to everyone. Merging timelines and dimensions is the work of a ghost, merging divided worlds is my achieving claim.