Q: Earlier, you mentioned sensing a Buddhist influence in your work. When viewing your drawings and paintings, it seems like you might have been inspired by Buddhism. Is this the case?

     A: "I’m not a Buddhist, but I believe that the ideas in Buddhism align closely with my own philosophy of life. I find it fascinating to unravel the hidden codes in religious art. While Christian art also has many hidden codes, Buddhist art contains even more. The process of uncovering these codes is very engaging for me.

I’ve always been fascinated by the universe, and learning that the mandala is considered a map of the universe piqued my interest even more. The structure of a mandala represents the heavenly realm at the top, our world in the middle, and hell at the bottom. The mandala paintings we commonly encounter depict the realms excluding hell from a bird’s-eye view. The heavenly realm is often depicted as a central square, while the human realm is shown in a surrounding circular form.

Through studying mandala, I learned that the more you know, the more you see. For example, I remember studying art history and planning to write a thesis on the mandala painting at the Tibetan galleries in the Metropolitan Museum of Art. As I delved into it from various angles, I ended up studying the concept of ‘dakini.’ Dakini is one of the beings from the heavenly realm. In fact, I had observed the Mandala painting countless times, but the ‘dakini’ wasn’t visible to me until I studied it. Even I felt the dakini was saying to me, “now you see me!”

 

The study of mandala was so vast that I felt I could never fully grasp it in my lifetime. Although I ceased writing my thesis on Mandala, the knowledge I gained has become a significant source of inspiration for my art making."

 

 

Meditation Through Repetitive Work

     Q: You mentioned that engaging in repetitive work feels like meditation. Do you think that working steadily, as in a meditative practice, could lead to a state of enlightenment?

     A: "When creating art, I feel as if I am meditating and practicing in some way. It’s certainly different from the meditation practiced by dedicated practitioners, but working for 8 or 12 hours a day, sewing, carving wood, or applying dots can make me lose track of myself. If we call this meditation, then it could be considered so.

Some of my works involve sewing. When sewing, if I rush, the thread and needle become tangled. However, if I focus solely on the thread and needle and let go of other thoughts, it gets better. Initially, I used to cut off the tangled parts, but now I believe that what was originally smooth and untangled can be unraveled with patience."

 

Choosing Materials

     Q: Besides white fabric, thread, and needles, you use various everyday materials in your work. Do you have criteria for selecting these materials?

     A: "When thinking about what work to create, certain materials come to mind. I use the materials that resonate most with me at the time. For example, in the installation piece <From the Mundane World to the Celestial World> featured in this exhibition, I used a variety of materials like basins, plates, and bowls.

I wrapped and sewed each material in fabric and attached eyes. I believe that household chores like washing dishes, cleaning, and managing a home are acts that provide nourishment both physically and spiritually. They give the vitality needed for living and ultimately help us reach the celestial realm.

The eyes resemble the universe when looked at closely, which is why I used the form of eyes. Wrapping and sewing objects signifies the transformation of everyday life into a higher realm."

 

Installation Works and Their Installation

     Q: Works like 'Come and Go' and 'From the Mundane World to the Celestial World' are made up of many components. Unlike pre-completed works, these installation pieces seem to be influenced by the chance of their installation moment.

     A: "Installation art is quite different from traditional modernist sculptures. To put it simply, the form of an installation piece inevitably changes depending on the space in which it is installed. While the content of the work remains consistent regardless of the space, its form can vary based on how it is installed.

Structurally, my works can be classified as modular compositions. Whether it’s an artist book or an installation piece, the concept remains the same."

 

Dealing with Loneliness Through Art

     Q: Working abroad for many years, you must have experienced many challenging times. Could your focus on healing and Buddhist art have stemmed from your solitude?

     A: "Living abroad, I often felt a sense of loneliness. Although I taught students and lived as a member of the society, as a foreigner, I sometimes faced unwelcoming stares. However, when I am working on my art, I forget about the loneliness, isolation, and struggles. All of those feelings fade away in the process."

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