The subjects in my work appear as unidentified ghosts that can't be said to be of this world. I've decided to call them incarnations. In various religions, myths, and legends, the word "incarnation" refers to the birth or emergence of transcendent beings in the form of humans or other bodies. If "incarnation" denotes the appearance of an abstract being in some concrete form, in a gut ceremony, a shaman could be considered an incarnation of our desires, hopes, and sorrows. The incarnations that appear in my work are always new and I meet them for the first time by drawing them.

Sound words can't be understood through formal study of the language alone. They're felt when you immerse yourself in the culture or lifestyle that becomes a part of you. The Japanese language is abundant with onomatopoeia. Even though I've lived in Japan a long time, sound words are still an uncertain territory. And I think new words are being created every day. Even when I don't know a word I can sometimes connect it to a meaning using the sensations produced by the sounds, which feels like I'm playing with words.

The subjects in my work appear as unidentified ghosts that can't be said to be of this world. I've decided to call them incarnations. In various religions, myths, and legends, the word "incarnation" refers to the birth or emergence of transcendent beings in the form of humans or other bodies. If "incarnation" denotes the appearance of an abstract being in some concrete form, in a gut ceremony, a shaman could be considered an incarnation of our desires, hopes, and sorrows. The incarnations that appear in my work are always new and I meet them for the first time by drawing them.

If you are born a female and live as one, you can't deny your connection to feminism. I think if you are a female, you are a feminist. As far as my work goes, I don't want it to be interpreted solely from a feminist perspective, of course, but for a woman to have no interest in feminism or say that it doesn't concern her is self-denial. I know that sexism still exists within various societies and systems, whether blatantly or subtly. We are, however, much better off than previous generations.

Not only is hair a part of the body, but because it continues to grow for a time after death, it was considered a symbol of life and spiritual power. Likewise, hair to me is an element of mystery and an intriguing subject that rouses my imagination.

Desire and loss of will tend to hurt the mind, which can lead to fear and compulsion. The result is that we suppress negative emotions, which we've been taught to be shameful of and hide, such as pain, anger, sorrow, and resentment. I take these complex and varied emotions surrounded by obscurity, absurdity, contradiction, and events out of our control such as tragedy, and project them in my work. So I understand that the images can generate fear, confusion, and anxiety in the audience, and if they're difficult to turn away from, it only means that my intention has been communicated.

The female experience throughout the history of Korea has been accompanied by physical and mental anguish. This negative aspect of Korean history is one of the driving forces behind my work. To imagine transcending time and space to live in the body of another person is not only one of the key elements that shape my work, but also, it is an opportunity to revisit and understand the ways women have long been viewed and treated in Korea.