UNIT TWO
DOCUMENTATION

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CRITICAL REFLECTION

Documentation

Beauty is, 15cm(H)x12cm(L), Letter press on Hanji(dak papers)

Book object

Making this book as a starting point, I wanted to develop more creative ideas between book and object. This book is made with three different types of dak papers and five different types of printmaking techniques. This is because I wanted to introduce the diversity of Korean paper and its use in print making techniques. I have enjoyed playing with Hanji and printmaking and started to discover something interesting.

I find it interesting how English is carved on traditional Korean paper - contrasting but harmonious aesthetics - keeping the uniqueness of the material - conflicting ideas. It is exciting to break the idea of a traditional book and show it in the format of a sculpture. The letters were printed horizontally and vertically, combining traditional book cultures of Eastern and Western cultures. It is also exciting to print English vertically.

Furthermore, I wanted to emphasize Hanji as a material language. It means that Hanji goes beyond just being beautiful or reflecting the function of paper. However, my poetry book leads the audience to focus on images and texts, but it doesn't seems to represent Hanji as a material language. I decided to use this book as a sketchbook to develop ideas between materials and objects.

Life is, 10.5cm(H)x7cm(L), Mount board and Laser cut on Hanji(

Miniature project

This mini book is made to fit the size suggested by the Miniature Project. Letters are able to be read on the front and back depending on the thin and transparent nature of Hanji. In the group critic, Paul said that my book object is both oriental and cause conflict. This is due to the use of English on Korean paper. Leo mentioned that the negative composition of the image was good, and the peers said that it was good to have all of the various Korean papers and various print techniques in one book. I combined the ideas, and caused a collision by using both Korean text and English. It is a window-shaped mini book. It shows negative images on the front and positive image in the back and used two kinds of Korean paper. The idea of a window-shaped book comes from the traditional function of Hanji. This is because it was actually used as a material to make doors in Korea. Throughout this project I have learnt to focus on minute details and therefore, I am very satisfied that the book object is exhibited by the window. This is because it shows the character of paper that projects light well. However, I don't think it was a good suggestion that it was displayed at the same table with several other works as I wanted to highlight it as a sculpture of the book and window format. I thought this might need to be considered in the next show.

Amaryllis, 32cm(H)x24cm(L), Hard ground etching and chine colle on Hanji(samgyubgangji)

Present & absent 1

This image was worked for submission to Botanic Open Call. I referred to Giorgio Morandi (1890-1964)'s line drawings, and the shadow reflect the absence and the flower reflect present time waiting for spring in February 2023.

Photography, White Amaryllis, January2023

Photography, Time, Feb 2023

Photography, Red Amaryllis, March 2023

Amaryllis, 60cm(H)x30cm(L), Wood cut, Relief print on Hanji (daksamji)

Present & absent 2

I did woodblock and laser cut printing with reference to Helen Frankenthaler. I've used modern print technique before, and this time I've approached it to create an abstract image, because I wanted to experiment with turning images of paintings into printing techniques according to the seminar I learned from Altea.

I then, started to deal with the theme of time by observing the blooming process of amaryllis. Amaryllis represents the present and spring of March 2023. Also, amaryllis, endures a long winter and bloom at the start of spring, metaphorizes me today. This is because I believe that I am changing in a unique and diverse way as I intersect with British culture. The vertical line is a metaphor for the Korean culture (tradition), and the horizontal is a metaphor for the changing present. It portrays my current cultural position where Eastern and Western cultures meet.

Present time, 30cm(H)x30cm(L), Lino cut, Relief print on paper

Vertical, 30cm(H)x30cm(L), Lino cut and chine colle ,Relief print on Hanji(daksamji)

Horizontal, 30cm(H)x30cm(L), Lino cut and chine colle Relief print on Hanji(daksamji)

Present, Vertical and Horizontal

Plum blossoms, 11cm(H)x11cm(L), Hard ground etching on Paper

Orchids, 11cm(H)x11cm(L), Hard ground etching on Paper

Chrysanthemums, 11cm(H)x11cm(L), Hard ground etching on Paper

,Bamboo 11cm(H)x11cm(L), Hard ground etching on Paper

Four seasons

To understand my tradition more deeply, I approached the subject matter of oriental traditional painting. - Plum blossoms, orchids, chrysanthemums, and bamboo are materials used for oriental painting and symbolize spring, summer, autumn, and winter.

I represented my dual culture that coexists by juxtaposing past and present materials. Furthermore, images of vertical lines and horizontal lines were created on traditional materials. This is to imply a cross culture between Eastern tradition and Western culture.

superposition, 11cm(H)x11cm(L), Hard ground etching, Chine colle on Hanji

Time

Four Gracious Plants, Hard ground etching and chine colle on paper

The Cross

The Cross, 44cm(H)x44cm(L), Hard ground etching, Chine colle on Hanji

Horizontal

Vertical

The

Cross

Four Gracious Plants, 11cm(H)x 44cm(L)Hard ground etching and chine colle on Hanji

Four Gracious Plants, 44cm(H)x 11cm(L)
Hard ground etching and chine colle on Hanji

Encountering the East & the West

Vertical and Horizontal / Korean and English

Horizon line and Modernism

The Cross and Contemporary

Exhibition planning ideas: After making the images into books, I decided to exhibit my books as a sculpture format. The first proposal plan was to convert the wooden box into a mini-library and display books in an L-shape. However, I wasn't given enough space that I wanted, and I wasn't sure about the safety of displaying in a wooden box on the shelf, so I decided to select three books and display them as series works at Leo's suggestion.

Key ideas: encountering Korean and English, five colours (Korean art traditional colours and English western modernism colour), interaction between the traditional and contemporary cultures, bridge and the cross to portray conflict

1st proposal idea for the Barge House Show

2nd proposal idea for the Barge House Show and the process

Vertical book

Square book

Window book

Vertical and Horizontal and The Cross

Barge House Exhibition

To play, press and hold the enter key. To stop, release the enter key.

Exhibition and group critic ideas:

Is it necessary for Korean to be used and shown to the audience?

What do the titles and colours of English books say?

Interaction ideas. Expanding the scale of images and book works. Research for constructivism.

Past/tradition

Plum blossom, 90cmx 60cm, lithography on paper

Plum blossom & Obang colour, 90cmx 60cm, watercolour painting, lithography on paper(420g)

Plum blossom, 90cmx 60cm, lithography on Hanji

Following the group critic I decided to scale up for the next show. As I plan to make a book that reflects my tradition. I brought ideas from the traditional context of spring in Korean painting, plum blossom. The image also embodied the traditional Korean painting style in lithography. Then I highlighted my tradition between traditional colours and Korean text. I reflected my tradition in plum blossoms, five colours, and Korean text. I wanted to choose one of these images but decided to change my plan after a tutorial with Jo as I liked the idea of overlapping images between the past and the present (line drawing technique) and also realized that it was important to let the image flow as a whole. Although Obang is a traditional Korean colour, it is also a colour mainly used in Western modernist compositional art. As Joanna mentioned, I agreed that if the colour is too intense, it could interfere with getting the message across. Therefore, I decided to recreate the plum blossom image with the line drawing technique. This is due to the fact that I thought I needed to be simpler -in all aspects of image, idea and concept etc.

Developing ideas for next steps: Focusing on conveying the message and present a structure between tradition and the present so that the structure can help with books and time.

Proposal for Summer Exhibition

Plan for the final works:

Creating the images between plum blossoms and Cherry blossoms
Making two large book sculptures that reflect my traditional/past and current/present position
Connecting them with a plywood panel to portray the interactions between cross cultures

Firstly, I will make an image with symbolic plants that metaphorizes my tradition and present time. This is to convey the message between time and cross culture. Unit 2 has dealt various different topics and I believe it is necessary to simplify the idea, therefore I want to focus on the theme of time.

Next, I will make two sculptures like a big book format and display the images inside and outside the books. - as I explored various types of materials such as Hanji, MDF and plywood, the sculpture will be made of Dak ingredients paper. - Including silk. Then connect them with a plywood panel with images. The two books have no letters, but they will reflect my tradition and will be presented with images. I believe this will be a visual language book made through research, a unique and creative artwork. The image of the panel will contain the messages of superposition generated when time, space, tradition and modernity meet. As a result, it will portray the way cultures interact through the process of connecting and intersecting objects and media.

Going into unit 3 I'm looking forward to creating more images between Eastern and Western cultures and subject matter and seeing how these images overlap and develop.

ARTIST STATEMENT

CONTEXT

UNIT TWO DOCUMENTATION

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EXTENDED RESEARCH

PROFESSIONAL SKILLS