Artists

My primary medium is people's reaction and interaction under the circumstances of today's society. I examine the possibility of artistic expression through clothes and develop multiple ways to present my work through performance, photography, video, weaving, and sculpting. With both a research and studio practice about the role of humans and the connection between self and clothes, I have created two bodies of works Freedom under Control: Bible Weaving and clothes as skin series. Both works emphases the subject of human nature and appearance of human nature in society.

The concept of Freedom under Control: Bible Weaving is the meaning of absolute freedom and recognizing the control of absolute powers, such as religion, human roles, environments, and heritages. Individuals simultaneous create society and are then controlled by its rules, cultural codes and expectations. The process of bible weaving necessitates that the bible first be destroyed. The act of destroying a bible is an expression of rebellion against the invisible hands that control us, and a questioning of social restrictions. After the process of destroying the bibles, weaving it back together is an act of receiving religion on my own terms. Religion, human roles, and social laws are intergraded into our lives, and each of them creates a structure on which people can live. Bible Weaving is about expressing freedom in how we navigate these structures and recovering doubt we may experience while doing so.

An equally important aim of mine is to understand and effectively wield the visual language of painting in pursuit of those artistic formulations that captivate and inspire, at the very least, create interest that retains the viewers' attention. The practice of painting then becomes a laboratory of sorts where disparate, unrelated notions and materials are stitched together and brought to life, to live an independent existence beyond the studio. In particular, painting very abstractly focuses the activity in area where the absence of representation forces tough decisions and acute strategies in dealing with the various factors that make a painting, such as composition, color, light, or the above-mentioned references.

I strive to make my works accessible regardless of the viewer's experience, but there is little doubt that a prolonged study of oil painting past and present will reward the experienced viewer with additional insights and enjoyment.

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