Bearing the fabric of traditional Korean clothing, and the marks of struggle, the hands in paintings are colorful testaments to reunion celebrations. But they are also spectacular displays of dramatic duplicity. Uneasy embraces across history and geography, they hint at the painful reality of unending separation, clutching at fleeting and bittersweet happiness.
Other paintings feature fighting politicians, their faces comically contorted. Are their exaggerated expressions real? Or are they merely playing, posing for the cameras, for us?
Painting within a discourse of social analysis, a process of clipping media images, and classifying subjects, I challenge our sense of emotional honesty. my images debate accountability and guilt, forcing us to question our complicity. Like photographs as witness to personal stories, my painting
