WITH EXPERIENCE IN MUSEUM EXHIBITIONS AND PUBLICATIONS BASED IN NEW YORK, NY
WITH EXPERIENCE IN MUSEUM EXHIBITIONS AND PUBLICATIONS BASED IN NEW YORK, NY
Illustrations:
Black & White
In these black and white illustrations, I limit the use of color intentionally to emphasize texture, contrast, and depth. By layering lines continually, I build density and spatial depth, allowing forms to emerge through accumulation rather than tonal variation. Symmetry plays a central role, creating compositions that feel both clean and ornate while heightening the contrast between black and white.
These works also reflect my interest in Korean aesthetics and East Asian visual traditions. Through disciplined line work and balanced composition, I aim to achieve a refined, classical elegance. In particular, the central piece reinterprets motifs from Korean folktales through my own visual language, expanding traditional narratives into contemporary black and white forms.
Monochromatic
Illustrations:
Monochromatic
In these monochromatic illustrations, I work within a single tonal palette to guide the viewer’s focus and create visual cohesion. By limiting the color range, I emphasize the depth and atmosphere that a single color can convey, allowing subtle variations in tone to shape each image. Symmetry plays a crucial role in these compositions, reinforcing stability and depth, while shifts in line quality—from clean and ornate to soft and gentle—differentiate each illustration within a consistent monochromatic palette.
Beyond formal qualities, these works rely on symbolism to convey deeper meaning rather than simple depiction. Drawing from my cultural and religious background, I incorporate elements of Korean aesthetics and Christian symbolism as a way of expanding my personal artistic world. Rather than using these symbols decoratively, I use them to articulate an artistic direction informed by my identity, expressing the mindset and values I carry as both a Korean and a Christian.
Oil Paintings
In my oil paintings, I focus on materiality and surface, allowing the process itself to shape the image. I often use rubbing and blending techniques to soften the transition between colors, encouraging gradual mixing rather than sharp separation. This approach creates a layered surface where colors merge gently, giving the painting a sense of depth and quiet movement. Working in oil allows me to slow down, observe carefully, and engage with the physical act of painting in a more deliberate way.
While exploring these painterly qualities, I aim to maintain a restrained yet ornate atmosphere influenced by Korean aesthetics. Rather than relying on bold excess, I seek a balance between control and richness—keeping the composition composed while allowing subtle vibrancy to emerge. Through this balance, I explore how a painting can feel calm and disciplined, yet still carry a sense of elegance and visual intensity rooted in a Korean sensibility.
Expressive Studies
These expressive studies serve as a space for exploration and experimentation within my sketchbooks. By working with a wider range of colors, I study how different color combinations interact and complement one another, allowing me to develop a more intuitive understanding of color relationships. Through repeated practice, I explore a variety of subjects, including full figures, facial expressions, hands, and overall composition, using each study as an opportunity to refine observation and visual decision-making.
I approach each sketchbook page as a complete canvas, carefully considering how to fill the space with intention rather than treating it as a collection of isolated sketches. To challenge myself, I experiment with different materials and compositional approaches on every page, working with colored pencils, pens, markers, and graphite. This process-oriented practice emphasizes curiosity and flexibility, allowing ideas to develop organically while informing both my illustration and design work.