The invitation to the show depicts me dreaming, in between two down comforters. I am between the covers. Essentially the exhibition is me. The books I have made. The paper I created. The memories I have collected and preserved. My ideas about male and female issues as well as my view on the idea of high art verses craft. The photographic images touch a variety of subjects from architectural and iconic forms, to food, to human collages resembling landscape views, to items that form a visual diary from my past. Most of the works are in a book format with some books extended into larger installation pieces as the interiors of these books are duplicated on single sheets and shown in grid form from behind the displayed book. Some images within the books are blurred and deconstructed in order to reference memory, as we all remember bits and pieces of an actual situation. The overall thematic core of this exhibition is about nostalgic memories represented in the way we construct our own memories and store them or confine them from changing by placing them in a book. It is also about giving: giving a person a new perspective or view; giving away my perspective; giving away a book that can be taken back with one to become a personal part of their life.
The art I sought out were the traditional and contemporary Korean arts and crafts, concentrating on painting and bookmaking. My own creative work consists of photographic art pieces (collages, paintings and books) is concerned with women's issues, identity or mistaken identity, and 33 cultural pluralism. Fortunately, the year I was there was the year of the book. Several exhibitions glorified the beauty and tradition of books. At the National Museum there was a retrospective on the books made within Korea at Buddhist monasteries that exemplified the high craftsmanship and honor books play within Korean culture. I was given a new understanding to the meaning of art through these exhibitions. Seeing these century old books gave me a different insight into producing books as works of art. With this education and with the ability to view, first hand, museums and galleries, as well as the land and people, I was able to continue my art making practice with greater authority.
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