Critical reflection

Introduction

In the initial stages of my MA course, I was interested in the research theme of nature and beauty. I attempted to reinterpret the concept of beauty by the inspiration from plants in nature. Through poetic expressions, I worked the idea of beauty's imperfections, metaphorically connecting it to human life. However, delving deeper into the research process and exploring this theme within the studio practice proved to be challenging. Because breaking free from my traditional perception of beauty was difficult, leading to continuous conflicts between traditional convention and the concept of contemporary art.

Upon entering Unit 2, I moved my focus towards the elements of conflict and confrontation I had encountered during my MA course. This shift transformed the research topic into materiality and material language under the theme of time, cross-culture and identity. During the extended research in Unit 2, I delved into the Constructivism architecture of through the study of the law of construction and I navigated the language of materials by utilizing the materiality of Hanji. Through the lens of constructivism architecture, the scope of my research expanded into areas such as cross-culture, cultural interaction, and identity. This marked a pivotal juncture in my artistic practice, where I honed the concept of uniqueness forged at intersections by intertwining images related to different research topics.

1. Peacham Road Exhibition

Unit 3 began with an exhibition of work by Camberwell MA Fine Art students at Peckham and Wilson Road. I showed the work The Cross, a long length Korean paper print installation.

The work is a continuing development of my key subjects:

Introduction of Korean papers effectively
Figurative and structural elements as a metaphor for representing superposition.
Balancing traditional techniques, digital processes, and the role of handcrafted work in the digital age
Storytelling progression presented through visual narratives

The poetic expression below describes the process of this work. It is a poem written metaphorically, weaving ideas from my research into the threads of conflict elements in my MA course.

The Cross

This story unfolds where Korean paper merges with Western paper,

Where Hangul confronts English, engaging in a linguistic caper,

Plum blossoms meet cherry blossoms, blooming side by side,

Tradition meets modernity, in art they both confide.

A vertical line meets a horizontal line, creating a cross,

On this ground of encounters, the future etches its gloss,

This story envisions the days yet unseen,

Through these meetings of cultures, where dreams convene.

I indeed had a conflict in choosing my research theme at the beginning of my MA. In Unit 1, I was interested in researching nature and beauty. However, as I transitioned into Unit 2, my central research theme shifted towards materiality. This change occurred as I found it challenging to respond to the contemporary concepts of beauty presented in tutorials and group critiques. It was difficult for me to break away from my traditional thinking within the realm of art. Korean Paper and Script represent my roots and tradition, while Western paper and English symbolize the modern and current position.

This story unfolds where Korean paper merges with Western paper,

Where Hangul confronts English, engaging in a linguistic caper,

In oriental paintings, plum blossoms have been used as a symbol to represent spring. I brought plum blossoms to symbolise past spring within the concept of time. Additionally, cherry blossoms, which bloom in May, were thus chosen as a symbol to represent the present time of spring. The reason for this choice lies within the distinct ecological differences between these two flowers, despite their similarities. Plum blossoms are universally used as a flower that represents spring in the countries of Korea, China, and Japan. In contrast, cherry blossoms are Japan's national flower, evoking thoughts specifically of Japan. During my research process in Unit 2 of Korean art history, I discovered the differences between plum and cherry blossoms in paintings. Therefore, I used plum blossoms a symbol to represent the past and the East, while cherry blossoms were employed to represent the present time and the beginning of modernism. "Compared to the West, modernism in Korean art started from the dark history of the Japanese colonial period (1910-1945) and the Korean War (1950-1953)" (Horlyck, 2017)

Plum blossoms meet cherry blossoms, blooming side by side,

Tradition meets modernity, in art they both confide.

Furthermore, based on the exploration of the visual culture of books in both Eastern and Western traditions in Unit 2, the vertical line symbolizes traditional culture representing Eastern classics, while the horizontal line metaphorically represents modern culture representing Western modernism. It illustrates the conflicts arising at the intersection. Traditional and modern concepts meet at the starting point of my MA course, reflecting the dark history of modernism in Korea. Just as Korea's true modernism was revaluated in the aftermath of Japanese colonization, I aim to challenge new concepts, showcasing my determination to explore and confront these intersections.

A vertical line meets a horizontal line, creating a cross,

On this ground of encounters, the future etches its gloss,

As tradition meets modernity, the identity of the past is newly transformed and interpreted within the current time frame. During the early stages of my MA course, I encountered conflicts regarding various research themes and contemporary concepts. I struggled with the oppositions and challenges posed by linguistic limitations and situational complexities. This created difficulties in continuing my academic journey. However, in the end, I chose to overcome all these conflicts, embracing hope for the unseen future.

This story envisions the days yet unseen,

Through these meetings of cultures, where dreams convene.

Vertical, Horizontal and The Cross (2023), Bargehouse exhibition

In Unit 2, I delved deep into the question, "What is the object of a book, and what can it become?" I explored the theme of interculturalism, unravelling conflicts related to cultural identity. Investigating cross-culture sparked creative ideas connecting paper to paper. I began evolving this concept from 2D paper works to 3D sculptures, rooted in a creative desire to expand the scale of books and apply the principles of constructivism to architecture.

Proposal idea

Initially, my plan was to display images on wooden panels resembling architectural forms in Unit 3. This was to highlight the idea of interaction in the sculpture. However, I changed my plan to show the idea of the intersection with the image. Therefore, I embraced a new approach, creating a work that involved hanging a 20-meter-long piece of paper on the door frame like blanket. This decision was inspired by ideas presented in the group critic, leading me in a new direction. I like these ideas because I believe they are consistent with the book art concept and will be able to show narrative storytelling with my images.

Chapter 1 & 2

This story unfolds where Korean paper merges with Western paper,

Where Hangul confronts English, engaging in a linguistic caper,

Chapter 1

Chapter 2

A vertical line meets a horizontal line, creating a cross,

On this ground of encounters, the future etches its gloss,

For the creation of the lengthy 20-meter image, Johanna suggested digitally printing my printmaking works and connecting them in multiples. However, for the initial 10 meters, I manually connected images with original printmaking works, not using digital prints. This was because I wanted to convey the essence of the past and tradition by employing traditional print techniques and manual processes. Previously, I had been working with Korean papers exclusively, but in Chapter 1, I initiated the connection between Korean and Western papers. This emphasis on the materiality of paper aimed to create intersections where Eastern and Western cultures meet, as well as where traditional and contemporary cultures intertwine. The key images in Chapter 1 include plum blossoms, orchid, chrysanthemum and bamboo. Plum blossoms and sacred bamboo represent Eastern traditions and culture, while moon jars, being a significant motif in traditional Korean paintings, symbolize Korean cultural heritage. With these images, I began Chapter 1.

The images constructed in Chapter 2 are cherry blossoms. This is to show the present time. The images of Cherry and Hangeul meeting is to reflect the traditions that coexist in the present time.

Chapter 3 & 4

Plum blossoms meet cherry blossoms, blooming side by side,

Tradition meets modernity, in art they both confide.

Chapter 3

Chapter 4

This story envisions the days yet unseen,

Through these meetings of cultures, where dreams convene.

For the next 5 meters, Chapter 3 I worked the connection using digital print images and Korean papers.This chapter marks a pivotal transition from traditional methods to digital processes. While traditional print processes were absent, the handmade work with Korean paper highlights the shift from traditional art to the digital age. The 5-meter images in Chapter 3 integrate visuals from Chapters 1 and 2, creating a harmonious arrangement.

Only for the remaining 5 meters did I utilize digital prints. This choice was driven by the intricate relationship between time, tradition, and modernity in my practice. This was because I had opted to navigate between traditional and modern methods, aiming to metaphorically depict the profound meanings at the intersections where these approaches converge. In Chapter 4, the content was condensed and intertwined with various symbolic elements on a single long sheet.

Experiment for the installation

The installation of this work was both challenging and exciting. Firstly, I created small book-shaped structures out of wood and experimented with suspending two pieces of paper on both sides. Initially, my idea was for the paper to overlap from behind, highlighting the significance of the concept of overlapping. However, I did not consider how/where it would meet from the front, back, or sides. Additionally, due to the substantial volume of my artwork, I experimented to ensure there was sufficient space in the installation area.

Between space and space

Once in the space, it became clear that a lot of thinking about the work and what it portrayed had not yet come out. I had never explored installations in such an instant way before. Despite weeks of making and considering printed works, they became new objects and demanded reconsideration during the physical work of installation. I put two rolls over the door with the structure facing inside room 207. While attempting a different configuration, I thought about: Where should the front page of the paper face? Where should I meet on the 2nd and 3rd sides? Should I spread out all the images on the floor or make them in a different shape? Where should I head for the last 4 pages?

I placed the artwork at the midpoint between Room C207 and C208, deciding that it would start facing Room C207 and end facing Room C208. At the starting point, Chapter 1 unfolds, meeting Chapters 2 and 3 from the sides and directing Chapter 4 towards the back. Due to limited space on the sides, I couldn't unfold the papers fully. Consequently, I rolled the papers into a wave-like pattern. Chapter 4 had to touch the ground, and I decided that the end roll should align. As a result, the contrast in the arrangement of space emphasised the connection points between spaces. This is to represent the coexistence and transition points between the past and present, tradition, and modernity within the artwork.

The printed images hanging over the door frame are interconnected, but since they are transformed into specific shapes at various points, the audience can think about why they look unique whenever they see these specific images.

Details of images: intersections and conflicts

Final Installation

Full image

Front side

Middle side

Back side

Conclusion

In the context of the artwork, the installation was strategically placed between rooms 207 and 208, highlighting its thematic significance. This arrangement emphasized the installation's role in bridging physical spaces and connecting them. Room 207 displayed monochromatic images by printmaking students, while room 208 featured diverse colour field artworks for painting students. My artwork, positioned between these rooms, acted as a symbolic bridge, uniting the different artistic expressions in both areas.

During Unit 2 of my academic pursuit, my exploration delved into the realms of traditional Korean books and historical artifacts, drawing inspiration from the V&A Hanryu exhibition. This experience motivated me to synthesize varied concepts from installation art and book artists, amalgamating traditional Korean book ideas with Western influences. My research journey involved an essential inquiry: How can a book object undergo transformation and reinterpretation in the context of contemporary art? I drew artistic inspiration from Josefina Nelimarkka's visual representations, seamlessly integrating her concepts into the domain of book arts. Additionally, I extensively studied John Byrne's work, gaining insights into the transformative potential inherent in books. My final creation, The Cross, assumed the role of a bridge, metaphorically and spatially connecting the realms of printmaking and painting exhibitions. Analogous to John Byrne's monumental book, which transitioned from being perceived as a museum artifact to a stage setting, my artwork fulfilled a similar transformative function.

The compelling artwork of Miles Lauterwasser, portraying subconscious emotions through wave patterns, captivated my attention. Employing the resilient yet delicate Hanji material, I sculpted intricate 3D wave shapes, emphasizing the conflict structures emerging at their intersections. This artistic choice was informed by my Unit 3 extended research, during which I conducted interviews with Asian-British households. These conversations highlighted familial conflicts arising from the clash between traditional Asian cultures and Western influences. Addressing these conflicts and seeking resolutions became the focal point of my exploration. Much like The Cross, which symbolized meeting points and the facilitation of understanding between disparate cultures, my artwork embodied the bridging of diverse heritages while integrating them with Western culture, grounded in principles of respect and understanding.

Ultimately, in my artwork The Cross, I aimed to convey its material essence by showcasing the diverse and extensive Hanji to the audience. It represents not only Korean history and tradition but also serves as a medium for cultural exchange. Hanji's eco-friendly nature and its artistic versatility, transforming into various art forms, highlight its cultural significance. I emphasized Hanji as a crucial element in promoting Korean culture to the Western world, much like many Hanji artists who have utilized it not just as functional paper but as a vehicle for cultural exchange. This exhibition became a platform to underscore Hanji's importance in representing Korea's cultural heritage. Quoting J. Geon in 2017, "Hanji is not just paper; it has been an integral part of our lives since ancient times. The excellence of Hanji and the wisdom of our ancestors hidden within it are unparalleled globally."

My creative process involved intricately intertwining images and representing conflicts in 3D forms, metaphorically conveying the outcomes of my research and the significant moments of my MA journey. This artistic endeavour empowered me to overcome challenges, nurturing hope for the future. Consequently, I completed my final artwork, The Cross. While I may not have delved deeply into one specific concept, I firmly believe I successfully conceptualized it by amalgamating various ideas, resulting in a meaningful and cohesive expression.

References:

Bibliography:

Bachelard, G. (1994) The poetics of space. Boston, Mass.: Beacon.

Hudek, A. (2014) The object. London, Cambridge, Massachusetts : Whitechapel Art Gallery, MIT press.

Johnson, A & ‎Sara E. S, ·(2016), The Tears of Things, publication by sage

Fiber: Sculpture 1960-Present, edited by Jenelle Porter, 2014, published by Prestel

Koehler, R (2015), Traditional painting, Publication by seoul selection

Jeon, J (2018),Hanji story, Sookpublication by Kyunghyang Shinmun

Thomas, A. J (2016) , Culture and identity, publication by sage

Website: https://josefinanelimarkka.com/info/

Website: https://www.bbc.co.uk/news/uk-scotland-tayside-central-44453100

Website: https://www.creativeboom.com/news/scottish-artist-john-byrnes-giant-pop-up-book-sets-the-stage-for-va-dundee/