Introduction
๐จโ๏ธ๐จโ๏ธ๐จโ๏ธ๐จโ๏ธ๐จโ๏ธ๐จโ๏ธ
โนโโขโโกโโโฃโโโ โโ
โ โ
โโโฃโโฏ โฏ;โ
โโโ โโโ โโโโฆโฏ โฏ;โโฆโโโโ
โ๏ธโ๏ธโ๏ธโ๏ธโ๏ธโ๏ธโ๏ธโ๏ธโ๏ธโ๏ธโ๏ธโ๏ธ
๐ต๐งโโ๏ธ๐งโโ๏ธ
๐ฏ๐๐๐๐๐๐๐๐๐๐ ๐๐
๐ ๐ป๐๐๐๐;
๐ฒ๐๐๐๐๐๐๐๐๐๐ ๐๐๐ ๐๐๐ ๐๐๐๐๐๐๐ ๐๐๐๐ ๐๐๐ ๐ญ๐๐๐๐๐
โฉ
๐ ๐ฎ๐๐ฒ๐ฟ๐ถ๐ฎ๐น๐ถ๐๐
๐ฆ๐ป๐ผ๐๐จ;
๐๐ฐ๐ฒโ๏ธ;๐ช๐ฎ๐๐ฒ๐ฟ๐ง
๐งก๊ชถ๊ชแฅด๊ซ ๊ ธแฅ
๊ ธแง๊ชแฅ
๊ช๊ช๐ค
๐ฅ๐ฅ๐๐๐ โ๏ธัฯฯโฯัฮนฮฝัโ๏ธ๐ฅ๐ฅ๐
๐
๐ โ ๐ ๐ ๐ฎ๐๐๐ถ๐;
๐๐ธ๐๐ถ๐ ๐ ๐ โ ๐
๐ผ๐ผ๐ผ๐ผ๐ผ๐ผ๐ผ ๐ผ๐ผ๐ผ๐ผ๐ผ
[ฬฒฬ
M][ฬฒฬ
e][ฬฒฬ
l][ฬฒฬ
a][ฬฒฬ
n][ฬฒฬ
i][ฬฒฬ
e] [ฬฒฬ
K][ฬฒฬ
l][ฬฒฬ
e][ฬฒฬ
i][ฬฒฬ
n]
๐ผ๐ผ๐ผ๐ผ๐ผ๐ผ๐ผ ๐ผ๐ผ๐ผ๐ผ๐ผ
๐ ๐
ผ๐
ฐ๐๐
ธ๐
ฐ๐,
๐๐
ด๐
๐
ด ๐
ฐ๐
ฝ๐
ณ
๐๐
ป๐
ธ๐
ป๐
ธ๐๐
ท๐
My writing travels from the past to the present by reading the two femalesโ photos. Last summer, I returned to my sweet home in Seoul. While I was bored during the two-week quarantine, I looked through my family's old albums. I looked at photographs of my grandparents, myself, my sister, and my mother's old friends and colleagues. My attention was drawn to a photograph of my mother and a snow; woman, as well as a photograph of my grandmother and two friends with the Buddha. The feelings from these photos are different but, they share some elements: individuals, a statue and the main figures as my best heroines; my mother and my grandmother.
My writing started with analyzing these two photos. The next step was understanding my mother, followed by my Christian background. The third step was projecting my childhood dealing with the relationship of my mother while I studied Melanie Klein. This informed the reasons behind my personal and artistic approach in my practice. Referring to another feminist named Luce Irigaray, I addressed the unbalanced language for women and suggested a new way to communicate via my painting practice, especially in my explosive series. It results in a discourse on the series and a meaning of painting for me as an artist. I reformulated the meaning of materiality for myself: snow, ice and water and, the journey is the end with Sugar; woman and the collection of snow. I looked back at my writings as a response to my memories.
There is no specific route given for this journey. And, Like the first page of my handwritten papers, my way of thought and artist practice is circling. As Barry Schwabsky, an art critic, says the time of painting is not linear, cognitive and painting routes are developing by going backward, sideways around in and over and sometimes it goes forward. I make a passing reference to the writing order for the readers, but it is just a suggestion. I do not want my cognition to be hierarchical. I hope that by clicking on photos, bolded phrases, and emojis, readers will be able to enjoy my hypothetical discussion. Maybe you lose your way but do not be panic. Just follow my way. Anyways, Enjoy!
Enjoy!
๐จแดพแตโฑโฟแตโฑโฟแต๐จ
โฝแตสฐแตแต โฑหข แตแตโฑโฟแตโฑโฟแต แตแต แตแต, แตโฟแต สฐแตสท แตแต แดต แตแตแตแต โฑแตโพ
Maria,
Eve and
Lilith
Melanie Klein
Description of a photo :
Mom and Snow; woman
Materiality Snow; Ice; Water
Sugar; woman
Luce Irigaray
Description of a photo: Grandmother and two friends with the Buddha
Painting
(What is painting to me,
and how do I make it)
Explosive
๐ผMAP๐ผ
Index
Index
Enjoy!