As I complete the master's program in 'painting,' I redefine the meaning of painting for myself. For the past two years, I have questioned why I paint, why painting is important in contemporary art, and how I will continue to express myself through painting. By reading the book 'THE OBSERVER EFFECT,' which I purchased during my Berlin trip, I built my own reason to continue on this path.

According to Michael Fried, an American art critic, art is gratuitous, not essentially the answer to a question or the solution to a presented problem. This is why I reflect on the relationship between my mother, grandmother and me. It is natural, so there is no reason to find a reason to love each other. Mom often told me you were my alter ego (分身; a part of the body). My work is also a part of my body. This kind of relationship is the same as why I'm doing art.

It is painting that keeps trying to draw us closer to a sense of our own daily lives and to whatever is political erotic and mystical.(p.108)

Painting draws our attention to the most basic aspect of our lives, be it political, mysterious, or otherwise. As a female painter in my twenties, I'm interested in learning how to live independently as an artist in my 30s and 40s, not as a separate entity, but as an integral part of my life, through observing my mother and grandmother's daily life with me or on their own.

Today it seems that artists are more concerned with how to make a painting- this comes out in the obsession with style or sometimes with how to use the materials, methods, concepts or traditions of painting to make a work that should not necessarily be called a painting. What it is will them emerge form how it is. (p.13)

The ordinariness of painting has become one of its most important characteristics. (p.107)

It's not what is painting, it's how I make my own painting as a painter, it's how I redefine my own definition. My own definition is not a far-flung myth. It is to develop my personal style by reminiscing about my past experiences. It tells the most common and general story. But the most important thing for me, the part in which I'm concerned, is what I'm saying and seeing. That is the power of painting, and it is also the power of my work.

My artistic practice is based on painting for expanding space. My visual art evokes a different dimension of imagination in the world that is previously described in language. My painting, which is one of the most traditional visual arts, is reassembled as a re-questioning of conventional culture. The audience can, for example, open the door containing front and back images aligned with the three dimensions on < My Dearest Love 2 >. I extend explosive drawing gestures from the canvas to the cube space in < I Pretend to Be Okay, I Am Not Okay >. With ceramics shaped like chopped rabbits, I installed a painting series titled < Let Pretend Me Look Good In the Swimsuit >. Those three works are both planar but non-planar at the same time. My visual art evokes a different level of imagination in the world that is previously described in language.

The early reason why I became interested in the image of the explosion is because of the tragic fact that conflicts bringing out numerous victims are consumed without any emotion in the media. Consumed violence has become more common in the midst of chaos as the Korean War has lasted seventy years.It was truly a pity that this tragic reality became ordinary.

Many such artist seems determine to catch painting in an in between state, a sort of amorphous lability in which any given mark can read as abstract or as image bearing depending on how you look at it. (p.104)

Furthermore, the re-established definition of an image for an explosion is the undetermined definition of an image in painting, as mentioned in the previous explosion page. This leads to a transition jumping over abstraction and figurative.

Installation View < Let Pretend Me Look Good In the Swimsuit >

< My Dearest Love 2 >

Furthermore, the re-established definition of an image for an explosion is the undetermined definition of an image in painting, as mentioned in the previous explosion page. This leads to a transition jumping over abstraction and figurative.

My sister said it looks like Starbuck's Frappuccino.
I thought I looks like Magnolia liliflora I used to see every springs at my previous school.

< Well, It’s a Scene Made to Cry,
so I Will_15 > , 2021, 
oil and
acrylic on canvas, 180 x 130 cm

< Well, It’s a Scene Made to Cry,
so I Will_10 > ,
2020, oil and acrylic color on the abandoned wooden board,
68 x 50.5cm

Alex said it looks like a shellfish from 'The Little Mermaid'