As a Korean immigrant living and creating in America, I perceive myself as being in a constant state of perpetual motion. Attempting to bridge the gap between my simultaneous feelings of affiliation and alienation, I focus on the notion of migrancy when addressing my subject matter, relating its temporal condition to my own personal disposition. In privileging movement over fixity in space and time, I am able to promote procession and engage in action as I navigate relocation and the condition of in-betweens.

In Blue Distant, I combine traditional Korean painting in rendition of a network of special yet forgettable highways, essentially connecting the new to an older art form. For me, a highway signifies the span of time between a departure from one location and the arrival in another, and it is then reinterpreted as an interval which I can freely discover my identity within the constraints of two cultures. In turn, monochromatic fragments of each painting react alongside integrated scenery installation works so that they may create an experiential narrative of the in-between in fuller view. With Blue Distant, I construct a physical representation of the migration space itself while showcasing a life lived in transition.