The repeated ‘lines (線)’ rhythmically meet other ‘lines’ to form ‘space’ and the small ‘pathway’ created by the lines sometimes names the space. Isn’t the ‘pathway’ the medium to finally realize oneself? The natural aesthetics of the torn lines of wet Korean paper and the immaculate Korean white clay (Buncheong) reveal the metaphorical scenery that expresses life. <A Scenery of Lines> consists of the abstract elements of landscape, and I try to portray the scenery at a glance by omitting the background. I’d like to focus on the rhythms between the 'lines' and the interspersed 'spaces', and I embody my emotions in them using the 'pathways' as the medium. A 'pathway' to me is a thought of the things that have passed and that will remain in the future. The various ‘pathways’ that exist in the world may ultimately be most natural and beautiful when they meet themselves.

Oddly shaped stones (Goeseok) and flowers are materials that show harmony and balance, like Yin and Yang, the philosophy and culture of oriental traditional life. I'm interested in the cultural background that permeates Korean life, so I immerse myself in the art genres that express it. Pottery and folk paintings are art genres that an ordinary person like me can easily approach. Among them, I am fascinated by the language of painting, and I enjoy the geniality and freedom expressed through stones and flowers in Korean paintings. The oddly shaped stones resemble Western grotesques, yet somewhat differ. The stones are rough and crude, yet not ugly or awkward. The flowers also are also not splendidly lush, yet graceful. These two elements – stones and flowers – do not exist alone, but are intertwined in a harmonious relationship. This theory of coexistence and complementarity differs from the straightforward atmosphere of the West, and does not assume any excesses or lacks. This oriental worldview is the soil and background for my work.