Motion in Silence

{MOTION IN SILENCE 1}
Oil on canvas
Two panel: 60" x 120"
Diptych (each panel 60" x 60")

{MOTION IN SILENCE 2}
Oil on canvas
Two panel: 72" x 96"
Diptych (each panel 72" x 48")

{MOTION IN SILENCE 3}
Oil on canvas
Two panel: 60" x 120"
Diptych (each panel 60" x 60")

{MOTION IN SILENCE 4}
Oil on canvas
Four panel: 40" x 120"
Group of four canvases (each panel 40" x 30")

{MOTION IN SILENCE 5}
Oil on canvas
Four panel: 40" x 120"
Group of four canvases (each panel 40" x 30")

{MOTION IN SILENCE 6}
Oil on canvas
Two panel: 96" x 96"
Diptych (each panel 96" x 48")

   As a painter, I choose to celebrate the beauty of the female body. At the same time, the female body – including bodies that reflect a military bearing – that appear in my paintings are essentially a vehicle that serve to support the painting’s theme.
   Initially, I was very much influenced by my upbringing in Korea.  In the patriarchal society that I experienced, women were traditionally encouraged to occupy a passive role.  But I learned how to convert that passivity into endurance and determination.
   Since coming to North America in 1986, I tended to become more assertive. And later, through emerging as an artist in the 1990s, I was able to enlist my art as a potent voice to share with the viewer – not merely on my own behalf but on behalf of all women who seek to rise above their passivity.
   As an immigrant and a woman struggling to survive, feelings of frustration and victimization soon washed over me. But, before long, I was able to experience the hope I needed to overcome these obstacles. Main objective of this series is the revelation of pain and victimization of the soul along with the peaceful demonstration against social prejudice.
   In a metaphoric way, the context of my paintings relies on the female body, or segments of the body, to support the theme. In many of the paintings, life-size nude female bodies become vehicles that are exposing the nakedness of their state of mind rather than sexuality. In a number of these, I juxtapose balls to reinforce the supernatural structure and movement of the images.