Almost two decades ago when I decided to pursue the life of an artist, I was given the task to create a body of work that is about me. I was free to choose any method, any issue. It seemed natural for me to start with the most basic question: What does it mean to be alive?
In those early days my questions were existential, my images sentimental and biological. My thesis exhibition for my first MFA in Korea, entitled “Relationship that changes me,” was a reflection on relationships as a basic requirement for life to exist.
My interest in living things shifted from the ontological to the phenomenological. I became fascinated by how movement can be portrayed in two dimensional media. I looked at Robert Delaunay, Futurism, and Marcel Duchamp’s “Nude descending a staircase No.2.” These works have a common feature, in that they use repetition as a visual code to create an illusion of movement. Inspired, I started experimenting with repetitive motifs and gradation of colour.