Glass Tube 2012 Dimensions Variable Materials: blown glass tube, color video with sound, 2 minutes Collection: Renwick Gallery of the Smithsonian American Art Museum, Washington D. C. Md neighbors



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Glass Tube

2012


Dimensions Variable

Materials: blown glass tube, color video with sound, 2 minutes


Collection:

Renwick Gallery of the Smithsonian American Art Museum, Washington D.C. MD




Neighbors

2011


Dimensions: metal structure: 8’H x 10’W x 10’D

Materials: steel, silkscreened glass, clamp, wire, light bulb

I took my neighbors portraits and I print faces onto glass panels with a different monotone color hung from full height metal frames.  The frames are set up to create a space to walk into with a spotlights hanging from the center, causing the panels to glow from within in color while throwing shadows on the walls outside the frame.
The printed faces lose their saturated color when their shadow is projected onto the wall, but the individual panels become one continuous over-sized shadow on the wall. The work represents that even if we have different race and back ground, we are all the same.


Reforming

2009


Dimensions Variable

Materials: 9 channel video with sound, 4 minutes


Project Venues:

2010 Real Art Ways, Hartford CT

2009 The Brooklyn Art Collective, New York
I film body parts and edit the fragmented parts to create inhuman form. Utilizing massage as a part of my art practice, I would like to explore it as a new organic life form.


Evolution

2009


Dimension: 12”H x 96”W x 12”D

Materials: silicon rubber, wire, steel, spotlight


Project Venues:

2009 Boffo, Brooklyn NY

2009 Elga Wimmer PCC, New York NY
Using truncated toy figures, I animate shadow on the wall like a continuous liner sex party. Sex is used for selling and art does the same.


Boundary

2008


Dimensions Variable

Materials: mixed media, spotlights, screen


Project Venues:

2009 Glass Guerillas, Corning NY

2008 Startline, Tokyo Japan

2008 Chazan Gallery, Providence RI


Using mirrors and the body, I created various contradictions. But if a mirror has inherent absurdities then what is going to happen when you look at yourself. The mirror works as a filter but if this filter creates contradictions then how can you see yourself, both literally and in a larger metaphorical sense. This got my imagination started. I started to make a special mirror to reveal its contradictory nature. I found light and reflection could show this.
Two special mirrors that have slight textures (male & female nude pictures) on the surface reflect a spotlight onto a translucent screen between them. The two refractions from each mirror will merge at this screen. So, if a viewer stands and blocks the light from one side of the mirror, the image will project only a male on the screen; and if the viewer switches to the opposite place, then it will project only a female on the other side of the screen. And if no one blocks the space, the light will project a merged male and female figure on the screen. This work is simply an interaction with the viewer's movement in the space; a person will engage in both looking at his reflection on the mirror and his projected image on the screen.


Structure of Shadow

2007


Dimensions: metal structure: 90”H x 60”W x 60”D

Materials: silicon, wire, steel, light bulb, motor, sensor


Project Venues:

2012 West Collection, Oak PA

2011 The Center for Emerging Visual Artists, Philadelphia PA

2010 Real Art Ways, Hartford CT

2010 Pittsburgh Center for the Arts, Pittsburgh PA

2010 Hunter College Time Square Gallery, New York NY

2009 Cheongju International Biennale, Cheonju Korea
Collection:

West Collection, Oaks PA


As soon as I entered the military in Korea, my superiors tried to brainwash all the new soldiers in regards to who our enemy is, why we have to obey them and so on. This training methodology and military law were very well structured and very effectively organized to control new troops. I was reading Michael Foucult’s “Discipline and Punish” in the military and this book is all about how Western governments have historically developed all kinds of punishments and penalties to control citizens in a very intellectual way. I could analyze the military system better through actually experiencing it. In the end, I felt that humans are weak and fragile, spiritless animals under certain rule, certain harsh conditions.
This work is an installation piece in which I present a mix of male and female toy-like rubber figures hung with strings marching in one direction, one after another. Hanging like puppets, the figures portray the idea of a group as opposed to an individual. A simple light and shadow trick is key in this work and becomes a metaphor for invisible power or tricks of politics in our society. The work is interactive: when a viewer approaches, a motion sensor shakes the light bulb so that the crowd's shadow moves around the space. The viewer's engagement plays a fundamental role in completing the work.


Merge - Drawing

2007


Dimension: 23”H x 26”W

Materials:: pen on paper


Project Venues:

2011 The Center for Emerging Visual Artists, Philadelphia PA

2010 Moore College of Arts and Desigh, Philadelphia PA

2007 Chazan Gallery, Providence RI


I want to illustrate the chaos of gender in relation of the biological, the educational, and the non-scientific. I am interested in the ongoing exchange between the outer appearance and the inner mind.
Replicated body fragments create numerous and abstract patterns that no longer resemble the image of a human. I want to display multiple replications of the body through drawing.


Soldier Project

2007 - 2005

Dimensions: 6”H x 4”W

Materials: postcard‚ color print on paper


Project Venues:

2012 Renwick Gallery of the Smithsonian American Art Museum, Washington D.C. MD


As a male Korean citizen, I have to serve in the military for two years. At the time, I thought of myself as an artist, so I “disguised” myself as a soldier for two years. I circulated this postcard right before I joined the Korean military


Visual Survey Project

2004


Dimensions Variable

Materials: barricades, guides, signs

Location: Sigmund-Haffner Gasse, Salzburg, Austria
Project Venues:

2004 International Summer Academy of Fine Art, Slazburg, Austria


I want to critique the pervasive tourist industry that turns the city of Salzburg into an indistinctive cultural place. I want to make manifest the density of the tourists who fill every street corner in Salzburg.
Lay out one barricade, 12 meters long, creating two distinct passages in the street. There will be two direction signs that indicate "Tourist" and "Einheimische"(Citizen) on both ends of the pathways. Two guards will assist to categorize and guide people in their respective passages.


Multiplication

2004


Dimensions Variable

Materials: live model, plexiglas mirror, brass, hinges, Velcro


Project Venues:

2004 Kyoto University of Art and Design, Kyoto Japan

2004 Musashino Art University, Tokyo Japan
In this piece, I encase the body within mirrors.


Merge

2004


Dimension: 6.2’H x 16.5’W x 16.5’D

live models, plexiglas mirror, steel


Project Venues:

2004 RISD Museum, Providence RI


Three tracks of steel frames hold double-sided-mirror-panels, gliding forward and backward. In the center of each panel is a cutout of the model's torso profile, which fits the body of the nude models. A reflection of a half body merges with another and completes a whole body.
As the models begin to walk back and forth, a mixture of sex and scale creates man-woman, woman- woman, and an unbalanced image of the body.
The mirrors reflect and fragment the space between the performance and the audience. As the mirror panels move, the space of the audience moves as well. The role of mirrored reflection expresses the blur of genders. The frame portrays social structure.


Shadow

2004


Dimension: 12”H x 80”W x 9”D

Materials: wax, steel, wire, spotlight


Project Venues:

2004 Space at Alice, Providence RI


While working with life-size nude figures as a constant, I also experimented with smaller scale human figures made from wax. The materiality is also partly the message. Wax is a fugitive material, and also translucent like the human skin. The illusion in this piece depends on one light source that casts sharp complete shadows of numerous figures, which in fact are generated by many wax body parts. Like TV shows or films we encounter every day, they illustrate smooth and seamless visual scenes. But these visual media are actually built out of fragmented clips from different times and places, smoothly edited in the computer. The trick of the shadow brought life to my fragmented wax pieces, transforming their insignificant nature into a meaningful whole entity. I wanted to depict an idea about a body controlled by some power, like a puppet.


Contour

2004


Dimensions Variable

Materials: live model, plexglas mirror, brass, hinges, Velcro


As the model moves her arms and legs, the longitudinal double sided-mirror fins reflect her body and what is surrounding her. Her body continuously resizes depending upon her movement, as each mirror fin reflects and hinders the fragments. I want to examine the ambiguous boundary between body and environment.


Fragmentation

2003


Dimensions Variable

Materials: live models, plexiglas mirror


Project Venues:

2003 Woods-Gerry Gallery, Rhode Island School of Design, Providence, RI


There are unlimited numbers of reflections of truncated legs, torsos, and arms, which visually connect and create a linear pattern. This provocative image of the depersonalized body is juxtaposed with the development of modern science that enables people to alter their appearance through surgeries or cloning.


Mirror Costume Figure

2003


Dimension: 40”H x 55”W x 8.5”D

Materials: wax, glass


Project Venues:

2003 Woods-Gerry Gallery, Rhode Island School of Design, Providence, RI




Mirror Costume

2003


Dimension Variable

Materials: live model, plexglas mirror, brass, hinges, Velcro


Many of my works use the body and mirrors to cut or extend, distort, reconstruct and fragment to create a chaotic image of a human. I use mirrors for integrating reality and illusion. My work poses the question: what is reality? I take advantage of illusion to explore and answer this question. I use the human body as a metaphor for the people of contemporary society. In my work, the human body is the medium that stands on equal ground with the present audience and invites them to immerse themselves in a very specific place; therefore, the following equation is formed: Contemporary man=Human body in my work=Audience. Presently, I am interested in highly developed technology, science, medicine and other fields, and moreover, I am curious how human perception will change and be affected by this technology and what this development will mean for the human life. Through my art, I want to pose questions about the use of technology and its relationship to reality and illusion.


Sound of Glass Helmet

Dimensions Variable

Materials: Color video with sound, 3 minutes
Project Venues:

2011 The Center for Emerging Visual Artists, Philadelphia, PA

2011 Pittsburgh Filmmakers/Pittsburgh Center for the Arts, Pittsburgh, PA

2011 Brattleboro Museum, VT

2011 Designblok, Prague, Czech Republic

2011 The Icebox, Philadelphia, PA

2011 Bloomfield College, NJ

2010 The Glass Art Society Conference, Louisville, KY

2010 The Contemporary Art Museum Houston, TX

2009 Cheongju International Biennale, Cheonju Korea

2009 Goggle Works, Reading, Pennsylvania

2009 579 Broadway, New York

2008 The Stage: Video Art + Flim Show, Kring, Seoul Korea

2004 Woods-Gerry Gallery, Rhode Island School of Design, Providence, RI


Collection:

2009 World Jewelry Museum, Seoul Korea


The video work is composed of sound produced by the Glass Helmet that was worn and played by different individuals including myself. Each player generated diverse sounds. I composed a video in terms of the human exchange with the various notes produced by the resonance of the glass instrument.


Glass Helmet

2002


Dimensions: 8”H x 12”W x 12”D

Materials: Blown glass


Project Venues:

2003 Brown University, Providence, RI


I saw great potential in one of the attributes of glass, its ability to resonate sound, and developed a musical instrument, “Glass Helmet Instrument”. It operates similarly to wine glass playing where sound is produced by rubbing around the rim of a wine glass. I wanted to further develop it as a prosthetic device, which can also function as an extension of one’s body that enhances certain activity such as communication or interaction.


Glass Helmet Group

2002


Dimensions Variable

Materials: blown glass, water, tube


In this piece, using the basic principle of gravity, the water in each of our helmets traveled from a higher level to a lower level through the connecting tubes. Different shaped glasses with different amounts of water in them produce different notes that create a melody.


Transparent Bags

2002


Dimensions Variable

Materials: sewn vinyl, light box


Project Venues:

2002 Sol Koffler Graduate Student Gallery, Providence, RI


With the increasing surveillance in modern society, I wanted to create see-through bags which have similar appearances as x-ray scans in the airport customs area. Through the metaphor or transparency I want to suggest a shift in the relationship between individual and authorities.


Transparent Business Suit

2002


Dimensions Variable

Materials: sewn vinyl, color video with sound, 2 minutes


“There is much to support the view that it is clothes that wear us and not we them; they mold our hearts, our brains, our tongues to their liking.” -Virginia Woolf. Uniforms group people in simplified versions of our social strata and take away our identity and individuality. In my transparent suit, I wanted to break the rigid impositions of the formal suit. Therefore, I juxtaposed the suit of a businessman and the naked body.


Mirror Mask

2002


Dimensions Variable

Materials: mirror, brass, hinge


Project Venues:

2011 The Center for Emerging Visual Artists, Philadelphia, PA


When I first came to the U.S, I had a communication problem as English was not my native language. Observing people's faces and gestures helped my understanding, and I started to inquire and develop a project about non-verbal communication. In "Mirror Mask", I focused on the concept, where I questioned how we are universally able to communicate with our body regardless of race or language. This mirror shows more angles of the face so that it helps communicate and exaggerate our facial expressions to one another.


Lens Mask

2001


Dimensions Variable

Materials: blown glass


When you wear a mask, you can disguise yourself. You would think that a glass mask wouldn’t help to disguise you because it’s transparent. I chose people with interesting characteristics as models, and I used magnifying glass to distort the image of their faces and cut holes to give them new hair styles. These masks worked to both keep and alter their characters.


Shadow Show

2001


Dimensions Variable – glass dish: 37.5” (diameter)

Materials: blown glass, steel, spotlights


Project Venues:

2001 Seomi Gallery (Space Kitchen), Seoul Korea



2001 Space TRY, Tokyo Japan
I am interested in phenomenological occurrences. Experimenting with light and shadow, I want to see how liquefied glass creates various patterns on transparent surfaces. Light displays the invisible facts of the glass through shadow.


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