My previous work was focused on resurrection in nature, and the idea of the

transmigration of souls.  For example, a seed rots to bloom a flower in order to

produce fresh fruits.  A seemingly meaningless material in the process of the

transmigration of souls became a curious element of my work.  My previous works

consisted of seeds, shells, and floral leaves, which were abandoned outside.  Next I

was interested in collecting material found in my daily life, such as peels, seeds, and

cores from fruit, containers from jelly, plastic wraps, candle holders, and cosmetics. 

My revisioning of those discarded materials could provide different value and

regenerate energies in them.  My inspiration comes from insignificant items that I 

redefine and revalue.  Insignificant things can remind us of  history and our own

personal past.  For instance, memories of the past would be constructed either

consciously or unconsciously by the senses in response to these objects.

            Throughout history humans have painted and inscribed their various shapes,

daily activities, and superstitious wishes for rains, abundance and health.  Remains  of

their daily necessities which archaeologists value in a great deal in the present day,

were their insignificant elements of their ordinary lives.  It is the only way for us to

taste the trace of the ancestor's lives. These old remainders of our ancestors can not be

replicated in present day.

             My works require those insignificant remainders which are available in present

days. My works are collections of manipulated trivial remainders, which are often

considered as trash.  This practice has grounding in my own Korean culture.  For

example, Ceraeki is dried leftover from making Kimchi, which is pickled cabbage with

spices. Ceraeki is a very essential supply for Korean people in winter time and are

usually dried hanging under the roof, where it collects energies from the sun.  The

word, Ceraeki, sounds almost identical to Korean word for a trash, Suraeki.

            My works are also inspired by the simple but sublime acts of my grandmother

who used to fold my underwear like ironing and the unconditional love of mother 

setting the table with a lot of side dishes for everybody in the family. The inspirations

of beautiful sacrifice of  motherhood towards their loved ones are one of the

motivation for my works.

            Materials for my works are the ephemeral remains of living.  These materials

are revitalized through new perspectives.  In my work with coffee filters, I produced

various colors of filters by boiling green tea in the coffee maker.  Various colors and

sizes of envelopes, which are made by gluing two filters together, with the exception of

center to create a space, are filled with found objects and grains.  Each envelope is

glued together to create a vision of an embroidery.  Light passes  through the

translucent filters, and creates a sense of being surrounded.  The filters are hanging

from the ceiling for viewers to walk under the work.

            Covering seeds and grains with plastic wraps and putting them in plastic jelly

containers, I preserve the materials that go inside.  There is no value difference

between outter and inner matter though.  I wrap them, to create the energy of inner

material and bring individual containers together which create greater energy.  Another

attraction of my works is an ability to interact with viewers because works are

suspended  freely from the space.  Interaction with viewers adds more possibilities and

interest to the work.  An addition of light to the work creates shadows to create more

illusion.  Another form of my work is to place plastic containers irregularly in groups

on the floor for viewers to walk through them.  Within the work, viewers could

experience relationship of the work with themselves.

            There is no everlasting organism and everything meets its last day. While my

life lasts, vanishing insignificant organisms will be rebloomed as a part of my work.  I

wish to regenerate their values in a form of art.  I want to create a space where people

can revisit past objects refined through the art making  process.  My hope is that by

confronting the viewer with these reborn leftovers I can create a contemplative space

with the possibility of personal purification.