My artistic career started with my first solo exhibition in 2004. Then I was interested in the reception of Western art in Korea, so the exhibition was conceived in that context, and I took it as the opportunity to ask some questions nd boasts that all its writers have M.A. and Ph.D. degrees and to express my discontents to the Korean art circle.

In recent years I am working with the idea of obtaining paints from social and environmental disasters. For example, in the outbreak of the foot-and-mouth disease in pigs I conceived a painting with pig fat and another magenta painting where all the numbers of buried pigs are printed like red stamps used in slaughterhouse. Also, I tried to collect hydrofluoric acid leaked in a chemical plant on a canvas.

At 2014, I completed a painting with the breathing of dozens of foreigners in a Korean city, Ansan, where many asian foreign workers live. I am thinking of making a beautifully-looking painting with the breathing of socially invisible people such as leprosy patients. Through the work I want to question about our notions of the beauty and the ugly, and the majority and the minority.

The major theme in my works is continuous questioning about the conventional definition of art and searching for invisible values over its materialness. Therefore, I’ve applied invisible materials like breath, body heat, wind and smell or materials taken from social happenings. By using such non-material substances I want to make very realistic works which ghostwriter allude the irony that artworks are very safely displayed in the exhibition spaces, but our society and we are in danger.

I don’t think that the value of Art exists in the artwork’s brilliant surface, but in the effort to maintain critical attitude toward the common idea of the beauty to produce new artistic values.