I enjoy painting figuratively to express and put down to canvas what I observe about female beauty. I believe it is the female human form that is the pinnacle of creation via evolutionary design. It is existence of such wonderful forms that suggest our universe is beautiful rather than ugly and more filled than empty. My depiction of the female goddesses is a celebration of a form that leaves impression of its image in the mind. And the image is ideal, flawless, and, in a way, spiritual and divine, yet also material. It is ephemeral and hard to grasp. It is easily tarnished, delicately balanced, and difficult to discover. It is based on an atom-based, biologically and chemically and physically functioning material reality. My process of painting is akin to plastic surgery or a scientific experiment. I apply changes to the painting then reject them by erasing or painting over them. It is a convention and a thesis about what is beautiful, harmonious, and ideal.
I was born in Seoul, South Korea in the 90s. My horoscope says that I am a born artist, and I appreciate beautiful things. Ever since I was young, I was an appreciator of female beauty. One of the reasons why I loved my mother and my aunts is because they appeared beautiful. I remember thinking that female leg was beautiful and also bosom, without much sexual attraction or knowledge. I vividly remember a tall, intelligent, and beautiful girl I met in first grade in Korea. Her name was Eunbi. Even after I moved to the United States in 2000 I would continue to remember her as the pinnacle of Korean beauty, who is tall, intelligent, and border-line angelic. When I came to America, I was also attracted to some white American girls, who had pale skin and looked either Roman or angelic. Their beauty re-shaped my standards of beauty. But eventually I remembered my roots and the image of Eunbi from my past. I committed to painting beautiful women like Eunbi who are not necessarily white.