P R O C E S S

My process begins with a structured ground that establishes rhythm, proportion, and spatial balance. Within this framework, Hanji is introduced as both surface and material field, shaped through cutting, layering, tearing, and repositioning.

Rather than fixed composition, the work develops through gradual accumulation and removal. These actions build a surface where structure remains active, allowing tension between order and openness to stay present.

The surface is further transformed through marking, scratching, and carving, where gesture becomes embedded within layered material. Water-based pigments and graphite are applied in multiple intervals, producing subtle chromatic shifts that emerge through depth rather than surface application alone.

Color functions as an atmospheric field rather than a fixed layer. Through absorption and transparency, tonal variations appear gradually, shaped by interaction between material, light, and time.

Drawing from the Korean tradition of Joomchi, fiber and pigment are unified through water into quiet relief and shifting light. Light becomes an active component of the surface, responding to density, layering, and spatial depth.

Each work develops as a constructed field where material, time, and perception remain in continuous formation.