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In the Earthbody series, I address my on-going investigation of the rootedness/ the rootlessness; staying connected and wanting to break away; tension and resolution. The use of the human figure serves as a container of memories and history of time, continually shaping and re-shaping one’s identity. The plant form suggests growth and change, but it is also inspired by the interior of the body, and its complex intersections of tissue and blood vessels. The images bring about an element of hope, stemming from a sense of a resolve, and invite a moment of reflection.
I used digital photopolymer intaglio process, which is one of the newest technologies in intaglio printmaking, combined with more traditional etching technique for the hand-generated marks. Altering the photographic image of myself by scraping, cutting and adding, the image “becomes” the witness of the time and action.
I am attracted to the fragility and its resilience of hanji (Korean mulberry paper). During my trip to Korea in 2010, I learned the traditional paper coiling technique, called Jiseung, from a master artisan, Kim Hyemija. Upon returning, I spent countless hours coiling thin strips of Korean mulberry paper and began constructing human body parts one string at a time. When the paper is coiled, it becomes strong. I have found myself extremely engaged in this very slow and meticulous coiling process and I am drawn to its meditative and humble experience. The figurative forms that I make with the coils reference what is underneath the skin. The coiled surface reminds me of the veins of leaves or the rings of a tree trunk. Through acceptance and sustenance, we form our sense of belongs.
hand coiled mulberry paper, relief
2012
“Sympathetic Fibers”, filled with hundreds of delicate marks, the large-scale prints are suggestive of internal bodily systems. I refer to sympathetic nervous system, which is responsible for sustaining a balance of body functions under stress and keeping its vital operations in order. The prints reflect on family, body, bodily tissues, growth and my connection to nature.
The title "Mapping the Body" was inspired by the idea of a map as an abstract form used to guide one to find a way. The "body" undergoing a continuous process of breaking down, evolving, shaping, and reshaping, serves as a bearer of memories and time. I wanted to examine the connection between past and present selves to understand how the past influences shaping of one’s identity, thus facilitate the process of reconciliation.
In the installation piece "The Process of Reconciliation", 13 largedouble-sided prints were assembled to create a spiral space that a viewer can walk into. As one goes through the spiral corridor, the gentle fluttering and swaying of the paper prints serves as a reminder of ones' own fragility.
Memories, especially memories of growing up, are the inseparable parts of our everyday lives. It is these memories, acting as our consciences, that remind us where we come from and provide us a sense of identity/belonging. The work in the show represents my effort to express the relationship between past and present selves as well as the desire to recreate what has been lost. By attempting to "fill in the blanks" I hope to regain a sense of my own belonging and balance.