![]() Her works have been acquired by Asia Society, New York, NY, High Museum of Art, Atlanta, GA, The Mint Museum of Art, Charlotte, NC, Smithsonian Institute, Hirshhorn Museum and Sculpture Garden, Washington, DC, Weatherspoon Museum of Art, Greensboro, NC and The Virginia Museum of Fine Arts, Richmond, VA. She received her MFA from the University of Iowa, Iowa City. 1973) is from DaeGu, Korea and lives and works in Atlanta, GA. Other series feature Asian fan shapes, masks that resemble peaches, work on paper and Hanji mounted on canvases that are ongoing. In addition, I use quilted borders in one painting series as a reference to traditional Korean blankets. Acrylic paint, on the other hand, is a newer Western paint material I relish this combination of old and new together in my work. Hanji has a long history as a traditional ink painting material in Korea. I mostly use Korean mulberry paper “Hanji” as ground and paint and draw with ink and acrylic. This strongly affects the imagery of my work. My materials and techniques also contain multiple cultural references. Identity, as a concept linked to geographic location, citizenship, ethnicity, and race, tends to shift and overlap. The world is so interconnected nowadays, how one can even tell where someone or something “comes from” anymore? The seemingly simple question “where are you from?” can be tricky to answer these days. I purposefully create images whose origins are hard to identify. For example, I mix Korean Folk art with Pennsylvania Dutch symbols such as the hex sign, and the Korean Folk Mask “Tal” with cartoon character Homer Simpson or Hopi Kachinas dolls. ![]() I tease and change these lexicons so that they are hard to identify, yet stay in a familiar zone. I take cues from Eastern and Western art history including Korean temple paintings and Folk Art, as well as colors and designs from popular culture, which range from internet emoticons and icons to fruit stickers and product labels. I am a cartographer of cultures and an icon maker of fictive worlds made visible in my artwork. My images feature cultural landscapes that both look familiar and odd at the same time. My clay beads and shaped ornamental elements will combine with Sonya's fiber structures to create new narratives. The skin that Michelle creates gives me new faces to tattoo with my drawing. For some of these new masks and wall hanging sculptures they have brought together elements that connect with my own practice. My desire to make unknown yet familiar objects based on people we could encounter daily.įor this series of masks I have invited Atlanta based ceramic sculptor Michelle Laxalt and fiber artist Sonya Yong James to collaborate. ![]() Notions of drawing, painting, 2D and 3D often lose their boundaries in these masks. Forms and colors of clay also often distorted and played with in my studio process. Through ceramic masks I am making faces that are in-between past and present, historical and fictional, cultural specific and imaginative. Along with my painting I have been working on a new series of ceramic masks that will be the main focus on this show.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |