Using "mending" as a primary metaphor, my practice transforms the ephemeral nature of memory into tangible, tactile objects. My work explores the spectrum of human experience through the traditional Korean lens of Hee-Rho-Aeh-Rhac: the four fundamental emotions of joy, anger, sorrow, and pleasure.
In my series, Death by a Thousand Papercuts, I focus specifically on the dimension of Aeh (Sorrow). Through the medium of clay, I embed memories into the earth by hand, making each mark one by one. This repetitive, labor-intensive process serves as a form of meditation—a deliberate act of "sitting" with emotions that are often unknown, uncomfortable, or unresolved.
While the final form of each piece remains a mystery until its completion, the journey is one of discovery. My goal is to invite the viewer into this contemplative space, encouraging them to confront their own emotional landscapes and embark on their own meditative journey.
Using "mending" as a primary metaphor, my practice transforms the ephemeral nature of memory into tangible, tactile objects. My work explores the spectrum of human experience through the traditional Korean lens of Hee-Rho-Aeh-Rhac: the four fundamental emotions of joy, anger, sorrow, and pleasure.
In my series, Death by a Thousand Papercuts, I focus specifically on the dimension of Aeh (Sorrow). Through the medium of clay, I embed memories into the earth by hand, making each mark one by one. This repetitive, labor-intensive process serves as a form of meditation—a deliberate act of "sitting" with emotions that are often unknown, uncomfortable, or unresolved.
While the final form of each piece remains a mystery until its completion, the journey is one of discovery. My goal is to invite the viewer into this contemplative space, encouraging them to confront their own emotional landscapes and embark on their own meditative journey.