Well, it's a sense made to cry,
so I will_14 , 2021, 
oil and acrylic color on canvas, 180cm x 135cm

<ᵂᵉˡˡ, ⁱᵗ'ˢ ᵃ ˢᶜᵉsᵉ ᵐᵃᵈᵉ ᵗᵒ ᶜʳʸ, ˢᵒ ᴵ ʷⁱˡˡ_⁴>, ²⁰²⁰, ᵃᶜʳʸˡⁱᶜ ᵒⁿ ᶜᵃⁿᵛᵃˢ, ⁴⁰ᶜᵐ ˣ ⁴⁰ᶜᵐ

An explosion is a strange moment. It only lasts a few seconds before it fades away. During the temporary period, it absorbs all of the energy available. However, the intense heat from the bombing results in permanently burned fragments. It has a life-pattern that resembles that of a snowman. It persists during a bitterly cold winter, but as the temperature rises, it vanishes. Heat, fire, or Yang, for example, are all represented by explosives. Water, ice, or Yin are all represented by the snowman. Both, however, are transient. They are only there for a short time.

I play with the nuances existing in this work. On the one side, photographs of bombings in general conjure up memories of past events or current events. The atomic bombings of Hiroshima and Nagasaki in 1945, for example, are the only known instances of nuclear bombs being used for killing purposes in human history. Another example is the North Korean-South Korean joint liaison office exploding in Kaesong in 2020. The first is the time of World War II, and the second is its expansion, which has resulted in long-term consequences. The viewer connects explosions with instability, war force, and derives a sense of disaster from the picture based on these general facts.

The scenic moment that explodes is beautiful.It is surrealistic with enormous power. Regardless of the realistic explosive force causing a disaster, the appearance is purely sublime. At this time, the picture is absorbed solely by presentation, and the reality is pushed to the margins.

redefine

‘Feminism ought to be careful not to idealize certain expressions of gender that, in turn, produce new forms of hierarchy and exclusion.’

Judith Butler. ‘Gender Trouble: Feminism and the Subversion of Identity

I like my discursive bomb. While the image of an explosion is typically masculine, the artist who painted it is female. The appearance is cute but the inside reference is violent and tragic. One of the features is fiery and hot, but depending on who is watching, the recreated feature varies. These multi-layered interpretations don’t suggest accurate meaning. These multi-layered interpretations do not imply a correct interpretation. As a result, I'd like to be explosions. The characteristics of the bombing differ depending on the strength, material, and intent of the bombing, among other factors. When time passes, the appearance changes. As a response to Judith Butler's quote, this discursive element is linked to my desire for different meanings of identity.

The word "explosion" evokes memories of violence, insecurity, and tragedies, but it also conjures up subjective gestures such as revolution, reconstruction and, recreation. Making my explosions is a kind of execution for the lives of me or my friends, resulting in an alternative form of exclusion from the man-centered existing language. Like the reason for the semicolon when writing snow; woman, as I stated in the introduction, and I made the reason for three Christian women's existence as I mentioned in the chapter "Maria, Eve, and Lilith," femininity has been subordinated by masculinity. My painterly performance expresses my irritation with this binary approach to generality. By carrying out the practice, I am able to overthrow the previous generality and redefine it.

On my canvases, the explosions are overly flat. The fear of actual explosions was replaced by pressed brush strokes and convincing outlines. The monochrome and soft colors blew away the true colors, almost as if they were teasing them. They evaporate. Artificial brush strokes are comical, which reflects my cynical view if the world.

recreation

𝙸𝚗𝚜𝚝𝚊𝚕𝚕𝚊𝚝𝚒𝚘𝚗 𝚅𝚒𝚎𝚠;