My work specifically focuses on communicating the graceful flow of our emotional tendencies through the plastic medium of flameworked glass. I like to work sculpturally, utilizing form and its surrounding atmosphere to portray narratives based on the human encounter with success and failure in the pursuit of personal ambition.
I’m interested in portraying the human aspiration in life with organic forms from the new perspective I had about myself within a foreign country. Originally from Korea, I relocated to the United States. My Korean heritage tends to make me ask about myself in terms of my direction as an artist and an individual especially after I came to the USA. What are my ambitions, how can I achieve these, and what is the personal significance? As a foreigner and woman, sometimes I have a limitation to attain dreams. To tell these stories as we occasionally have, “How much are we struggling to break the certain limitation to pursue our aspiration and how are we trying to ascend ourselves onto the next strategy to attain our own means of accomplishment.” To address my interest in human aspiration, I like to integrate my personal philosophy and experience incorporating my Korean heritage into the work in an effort to merge my eastern background and my western experiences similar to how we, as humankind, are unified through the sensation of personal ambition.
The structures that I create within recent work resemble objects that the viewer is familiar with and comes across within daily living. Ladder, trees, clouds, boxes and even hybrids of the four appear as reoccurring formal motifs.
The ladder is an object of strong symbolic references to these thematic interests. Ladders are man-made tools used to assist or aid an individual to physical raise somebody to a higher level- to reach a destination that one would be incapable of doing without such a device. There is a certain poetry spoken when making work of this nature, with this material and in the manner that I use glass. These objects are associated with all things dense and structurally sound whereas my renditions are light and airy-almost celestial. The gloss and glisten that is reflected from the glass construction further imply a spiritual or apparitional quality. It is as if these pieces were composed of light and were revealing themselves unto the viewer as a holy vision, indicating one towards a direction above and beyond where they stand. In this work, I am attempting to create a physical representation of what it feels like to have a personal moment of revelation when standing in the presence of the actual piece. The moment feels as if something sacred is taking place as the viewer visualizes him or herself climbing the dedicate structure in an equally dedicate manner- transcending one’s self beyond the realm of physical possibility. Although beautiful looking objects, there is an allure to these pieces that similarly surpasses their physicality in that the viewer not only becomes overwhelmed by what they see, but, more importantly, in what they sense internally.
I use the metaphorical qualities of organic structures within the natural world as motifs for ascension. In a much more lively and asymmetrical composition, I use a similarly delicate assemblage of glass rods to create renditions of a tree form. Although the tree withholds many sacred and symbolic connotations, it is apparent that I am interested in using it to make a metaphorical connection to the spirit of human aspiration. Unlike a ladder, this is an object that lives and breathes, has the capability of growing and is equally capable of dying. It is a mortal entity in itself and is a thing that bears many human qualities, but it seems that it’s potential for escalation could be of my main interest. Although all trees start as seedlings, it takes a certain kind of environment and a certain set of circumstances for that seed to gradually grow into its full potential as a tall, budding and healthy tree. There is a unique parallel between the development of any given tree and the human spirit in that there is no redundancy amidst their like kind in how either two things develop or what it is they develop into. Nor is there a guarantee that either thing will develop into their full potential. The pieces that I create under the influence of the natural world read as individual narratives, perhaps even as portraiture of certain individuals or moments of my own personal growth. Nevertheless, I use the malleable qualities of glass to bend and curve the material into frozen renderings of limbs and branches that ethereally reach toward some invisible goal above them. Some of the more interesting pieces are those in which I integrate the organic motion of the limbs with the stoic stature of the ladder form.
My recent work carries a quiet, meditative tone that lends heavily towards its spiritual emphasis. It’s the kind of work that viewers bask in rather than investigate on behalf of its celestial allure and its ability to evoke introspection. It wouldn’t be accurate to consider me as a spiritual spoken person, nor should my work be considered prophetic. However, there is an undeniable internal and contemplative aura within my work that resonates with our human desire for and pursuit toward something “higher” and “bigger”. I would like to give a chance for viewers to identify their own dreams with my portrayal of the human need to progress to remembrance. We will try every possible approach towards achieving a certain goal.