The notes are excerpted from the interviews:
1. Easy Reader
You’ve often said, “I create nuances to challenge the ideas of identity, and I create just enough expressive variation to seemingly recurring shapes.” Would you care to elaborate a little on this for the general reader?
YS: “Basically, it’s about art, logic, and perception.
“I’ve been interested in the process of exploring the ‘idea’ of shapes as opposed to their measured reality. I set the goal to make something that is defined to be perfect, knowing that I’ll fail without measuring tools. Upon closer inspection, the viewers will find my hand-drawn subtle variations of lines, colors, textures, layers of mediums, and layers of failures. The paintings may look singular but they consist of thousands of multiples of the same or slightly varied forms and colors. Sometimes the paintings may look overloaded with many elements, but these are hand-drawn, repeated single elements collaged onto the panel.
“So, ultimately, the nuances, the variations, the seemingly recurring shapes, and the repeated failures are the true core of my work. And ironically, it’s not about something perfect.”
Can you open up a bit about your work and career? We’re big fans and we’d love for our community to learn more about your work.
I am obsessive compulsive, so the process of making art reflects that. I work on two sets of process. I begin by painting on tape/paper/canvas, once these are dried, I cut them into tiny/thin pieces. When I have enough accumulated pieces, I paste them by random choice onto the wooden panel. These “collaged painting” process, begins with setting the goal to make something that is defined to be perfect (square, circle, Xerox, straight line, & etc.,) with knowing that it is impossible to accomplish without the measuring tools. Instead, my approach to accomplish the perfection is to use my hand and trust myself to be precise, over and over again. I’ve been interested in the process of exploring the “idea” of shapes as opposed to their measured reality. And I get excited every single project because there’s always unexpected outcome. The biggest challenge in my career is that on top of being an introvert and hopelessly shy, I couldn’t divide my time efficiently to promote my work. I’ve been an workaholic for 25 years. However this interview would be a huge breaking point in my life. And I am hoping I make sense to the readers.
Can you tell our readers more about what you do and what you think sets you apart from others?
I am a painter, from small to large scale paintings to mural to installation. I am not bound to fixed subjects; the choice of subject matter is based on the concept of the specific artwork. There are minimal to maximal grids, abstract forms, geometric shapes, figures, or exploring color schemes. I use collage method incorporated into a painting. Rather than direct application of paint onto the panel, I use collage as a second medium because it motivates to labor and creates a sense of elementary. The spontaneous decision-making, finding surprises, outcome of unknown are the reasons of my collaged process. I work on two sets of process: At first, I paint on the thinly sliced/cut tapes/papers/canvas/fabric, and etc. Once I have enough accumulated pieces, I paste them by random choice onto the wooden panel. Before these “collaged painting” process, I set the goal to make something that is defined to be perfect, knowing that it is impossible to accomplish without measuring tools. Instead, my approach to accomplish the perfection is to use my hand and trust myself to be precise, over and over again. I’ve been interested in the process of exploring the “idea” of shapes as opposed to their measured reality. Upon closer scrutiny, the viewers will find my hand-drawn subtle variations of lines, colors, textures, and layers of mediums. And the paintings may look singular but consist of thousands of multiples of the same. Sometimes the paintings may look over-loaded with many elements but these are hand-drawn repeated single element that are collaged onto the panel.
A shifting/perception, nuances, neighbors, co-existence of group and individual, invitation to details, effect/affection, TLC are main core of my artwork to be looked at and to be valued at.