There are multiple ways of interpretation of an artist, all in reference to one’s attitude and experiences of life as developing perspectives of history. The resulting milieu seems to foster an unfathomable range of sorts of expressions within the realm of art world, although admittedly the whole world can be seen as miscellaneous. Humans have so far extended their existence, creating vastly diverse cultures which also become passed onto the next generations, manipulated, appropriated, imitated and parodied. How could we then overlook and re-illuminate all these from external angles? Such an attempt to reflect oneself from outside perspective may well enable us to feel something is growing and developing out there as we learn to establish our own temporal and spatial connection with stream of history.

 

The expression of line is not to show the line itself according to my understanding. Multiple lines are created to fall on another, such multi-layering gives off the sense of gradual variation of tint, allowing me to express a particular cross-section of history or fact. (I have been experimenting continuous addition of complementary colors in the same tones, shades and contrast in saturation, in most occasions 7 to 8 times per trial.)

 

I would like to be at the position where I am able to perceive things with non-personal perspective, or outside the realm to which I belong. This thought of mine originates from a typical, traditional spirit inherited by my generation, which may have come from a certain source of doctrine, be it Chinese, Japanese, Korean or any Far Eastern culture. The ultimate point of reference is the elaborate fine lining and lines repeatedly put on top or imbricated on one another; creating naturally occurring muddy, obscure images of either multiple or single color; and thereby gradually building up the full view of picture showing a record of life of today’s human living a part of history.

 

It has come to me as necessary that we try to infinitely expand or reduce the conception of certain forms or incidents, exploiting our cognitive potential. And when we do so, the meanings of these things are in such a way that we only interpret them superficially: who can ever explain things minute by minute at length?

 

It is my purpose to express the rhythm exerted from incidents ? happened at a particular point of history ? and therefore relations in linear form, because the form of cultural elements of history can be translated into the form of color. The repetition of color and line naturally marked to configure certain shapes, in this sense, leads to think that all we dwell in and with are momentary as others get tangled with each other to create what we have today as human cultures.

 

These numerous lines, rhythm and the whole new frontier of perspective offer a chance for me to live with humilities while allowing me to be in the midst of historical realities.

Monthly art magazine, Gonggan, August 1980