YEJI JUN
My art is my state of mind, coming from my subconscious. My state of mind includes not only internal thoughts but external experiences; impulses, images, emotions, daydreams, and elements from my daily life. The elements coming from my subconscious are both spontaneous and deliberate. This visual language allows me to share my sarcasm, humor, sadness and fantasy. Viewers can discover, see and enjoy these experiences through my art.
Ideas come and go very quickly. To share the richness of my infinite world, I record and capture everything immediately, before it fades away. This non-stop process of recording my impressions serves to create “snapshots” from my subconscious mind.
In my work, daydreams, text and significant personal details such as signs and symbols are revealed and shared. Meanings, thoughts, emotions, impulses and vulnerability, together with my daydreams, come to provide a rich visual experience.
Major components used in my work are text and images, which sometimes accompany each other and sometimes appear independently. In preparation, I write down my thoughts daily in order to further define my abstract ideas. These written texts I write inspire my images. Although ‘text’ is surely more understandable comparing to ‘images’, I understand they can be distractive to viewers’ inexhaustible imagination. Thus, for some of my intricate paintings, I intentionally exclude my text and put it on the work as a title instead.
Color is instinctive for me. My images are vivid and colorful. The colors I use are related to my emotions. With color, I strive to recreate specific moods that I have in mind. I often use different materials such as glass, paint and even wax, and often the result of my work comes as different genres, such as drawing, painting and interactive sculpture. My selection of materials and genres is not for the sake of themselves, but to recreate the visual qualities of the images and thoughts that I have in my mind.
My imagined world is endless, and every element connects to each other. In order to capture a multitude of elements, I obsessively expand my work to include others. It becomes a large collection of elements, which I assemble and display as one gigantic installation.
Since everything in my imaginary world is interconnected, it is impossible for any piece to be a completed work. Each element is connected to an infinite number of other elements. All of my gigantic installations consist of various drawings, paintings and collages made within specific timeframes. Limiting the timeframe creates a new way to interconnect my elements.
When I make my work I actively anticipate the responses of my viewers. My works are not just transferred from my thoughts to artwork. They go from me to my viewers, and from my worlds to theirs. My art is therefore a method of conversation. It is a visual language in which I converse with myself and my viewers.
Ideas come and go very quickly. To share the richness of my infinite world, I record and capture everything immediately, before it fades away. This non-stop process of recording my impressions serves to create “snapshots” from my subconscious mind.
In my work, daydreams, text and significant personal details such as signs and symbols are revealed and shared. Meanings, thoughts, emotions, impulses and vulnerability, together with my daydreams, come to provide a rich visual experience.
Major components used in my work are text and images, which sometimes accompany each other and sometimes appear independently. In preparation, I write down my thoughts daily in order to further define my abstract ideas. These written texts I write inspire my images. Although ‘text’ is surely more understandable comparing to ‘images’, I understand they can be distractive to viewers’ inexhaustible imagination. Thus, for some of my intricate paintings, I intentionally exclude my text and put it on the work as a title instead.
Color is instinctive for me. My images are vivid and colorful. The colors I use are related to my emotions. With color, I strive to recreate specific moods that I have in mind. I often use different materials such as glass, paint and even wax, and often the result of my work comes as different genres, such as drawing, painting and interactive sculpture. My selection of materials and genres is not for the sake of themselves, but to recreate the visual qualities of the images and thoughts that I have in my mind.
My imagined world is endless, and every element connects to each other. In order to capture a multitude of elements, I obsessively expand my work to include others. It becomes a large collection of elements, which I assemble and display as one gigantic installation.
Since everything in my imaginary world is interconnected, it is impossible for any piece to be a completed work. Each element is connected to an infinite number of other elements. All of my gigantic installations consist of various drawings, paintings and collages made within specific timeframes. Limiting the timeframe creates a new way to interconnect my elements.
When I make my work I actively anticipate the responses of my viewers. My works are not just transferred from my thoughts to artwork. They go from me to my viewers, and from my worlds to theirs. My art is therefore a method of conversation. It is a visual language in which I converse with myself and my viewers.
