Interviewed by Olha Romaniuk, Editor, for Surface Asia Magazine No. 11

Why did you decide to transition from architecture into art?

As much as I enjoyed studying and practicing architecture, I began to realize that I was perhaps using architecture as a vehicle towards aesthetics rather than spatial or programmatic principles. In other words, I had a tendency to put form before function. Since I had always been passionate about drawing and painting since my adolescence, I decided to pursue a career as an artist, which in my opinion would allow me to create something (visual art) that possesses the primary function of being aesthetically pleasing, in contrast to Architecture, which by definition has a primary function of creating practical space.  

How much of an influence does your previous architectural training have in your art?

Coming from a design background has definitely affected my processes and execution towards my art. I visualize the finished work before actually getting anything on the canvas and work towards that image, in contrast to a more spontaneous or traditionally artistic approach which may be characterized by a anomalous moment when a burst of impulse suddenly appears on the canvas. My work is defined by several stages of premeditated phases such as hand drawn sketches, computer-aided drawing, hand silk-screening, and painting. I would also say that my architectural background has influenced my work to be very detail oriented, and striving for the highest quality 'product' possible through means of meticulous craft and precise execution.

What specific themes are you exploring through your art today?

I feel inspired by modern social conditions, capitalism, individualism, and cultural identity. The predominantly 'Korean' content of my subject matter reveals my obsession with cultural heritage, and perhaps indicates a degree of confusion towards my cultural identity. As a second generation Korean-Canadian, I am curious and sentimental towards my mother culture, but I don't believe that I strive to comprehend it or embrace it fully, even after living in Korea for over 8 years. Many Koreans have told me that my expressions of Korean imagery have a very 'foreign' look or feel to it. Since I was born and raised in Canada, that is an accurate observation. I cannot relate to either Korean or Canadian culture as my own, and therefore my artwork may be an effort on my part to somehow define my own culture, or perhaps to understand what it means to be a foreigner within the cultural context of my original ancestry.

How have you seen your art and themes present in your art evolve through the years?

Although my design background allowed me to develop a creative thought process, I wasn't familiar enough with the specific techniques and skills related to painting. So I can definitely say that in terms of technique and proficiency towards the physical act of creating my paintings, I have learned and improved greatly through trial and error. I learned to paint the way I do now by myself, and in some aspects this has worked to my advantage, as it has allowed me to develop my own individual methods which differ from conventional painting standards. In regards to the thematic elements of my work, I feel that my being in Korea for a longer period has changed my perspective on my relationship towards Korean culture. Although I don't feel that I necessarily comprehend it any better than in the past, I feel a stronger connection to it, and find it interesting to observe the degradation of traditional Korean values and customs amidst the rise of westernization/globalization. My paintings are personal virtual extensions of reality, presenting endless compositions of Korean aesthetics which are uneducated interpretations of an individual not entirely included or excluded from Korean culture.

What are some of the works that you feel have been particularly significant to you or your career?

'Seclusion', which I completed in 2011, was a very difficult and significant work for me on several levels. First of all, it was the largest and most complicated painting I had attempted. It took me a full year to complete, during which I didn't leave my studio for months at a time. I had to sacrifice a lot personally, financially, and even heath-wise. I literally 'secluded' myself from society, and really immersed myself in that particular painting. On a personal level, I think it was a turning point in which I sort of proved to myself how dedicated and passionate towards painting I really was.