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EAST ASIAN MOTIF ART
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Haechi Duology (2024)
Combining fine ink illustrations with folklore of Haechi, the two illustrations depict stories of people who fear assistance, which, derives from the fear of exposing their vulnerability.
Thimbelina (2023)
This concept art is inspired by the tale 'assibang ilgobdongmu' (The Missus and her Seven Pals). *The tale revolves around the seven objects from the missus' sewing basket, claiming they matter the most to her. Unlike the objects' hope to be validated by Missus, she hollers at the sewing basket for disrupting her sleep.
The central figure with a thimble on her head is the visual epitome of wanting recognition, while the person in the foreground seems distracted by their fatigue. Even with such 'neglect', there is minuscule clothing that is being made next to the box of band-aids - implying the tired one has a gift for the thimble that runs away from dismay.
The central figure with a thimble on her head is the visual epitome of wanting recognition, while the person in the foreground seems distracted by their fatigue. Even with such 'neglect', there is minuscule clothing that is being made next to the box of band-aids - implying the tired one has a gift for the thimble that runs away from dismay.
Alternative Sketches to "Thimbelina" (2025, 2024)
View "Thimbelina" for analysis and elaboration.
Feed (2023)
Bulgasari is a mythical creature that feeds on metalware, its size amplifying with every dose of metal it consumes. It is known as fierce, indestructible, and immortal, hence feeding it metalware is lethal - especially if you need to captivate the Bulgasari.
Contrary to such an important tactic, the girl in the sketch is throwing away unused metalware across her shoulders, which the Bulgasari picks up and consumes. Despite the Bulgasari can kill the girl at any moment, she seems too busy making a helmet (ultimately for protection). As such, <Feed> centralizes setting up wrong priorities.
Contrary to such an important tactic, the girl in the sketch is throwing away unused metalware across her shoulders, which the Bulgasari picks up and consumes. Despite the Bulgasari can kill the girl at any moment, she seems too busy making a helmet (ultimately for protection). As such, <Feed> centralizes setting up wrong priorities.
Imugi's Speech (2023)
"Imugi" is a snake that wanted to be a dragon. It never became a dragon despite its training for a thousand years, and anybody who disrupts its training is killed without mercy.
As seen, Imugi's ruthlessness and bold ambition are what stops it from ascending into a dragon - and no matter how desperately it tries for another year, it will remain to have the tail of a snake. And for some reason, I find the Imugi, who struggles against its nature, truly remarkable. Nevertheless of how much effort it puts in, Imugi will always remain as a serpent that deceives with such a cunning tongue; it forever will be. So I wonder to this day why it desires to be a generous dragon, to be revered and respected by all.
As seen, Imugi's ruthlessness and bold ambition are what stops it from ascending into a dragon - and no matter how desperately it tries for another year, it will remain to have the tail of a snake. And for some reason, I find the Imugi, who struggles against its nature, truly remarkable. Nevertheless of how much effort it puts in, Imugi will always remain as a serpent that deceives with such a cunning tongue; it forever will be. So I wonder to this day why it desires to be a generous dragon, to be revered and respected by all.
Day of the Dark moon (2023)
Geuseunsae is a monster in Jeju islands, known to devour kids that shiver in fear of its presence. The more one fears the Geuseunsae, the bigger it will become.
And so is the Geuseunsae in the sketch - growing and growing while consuming the kid's sorrow. Yet the kid stays still, murmuring its misery to the monster in front of them. The bigger Geuseunsae grows, so will the raincoat it is wearing.. which is what the kid desperately needs to avoid the cold rain, and why the kid does not run away from the monster that will feed on them.
And so is the Geuseunsae in the sketch - growing and growing while consuming the kid's sorrow. Yet the kid stays still, murmuring its misery to the monster in front of them. The bigger Geuseunsae grows, so will the raincoat it is wearing.. which is what the kid desperately needs to avoid the cold rain, and why the kid does not run away from the monster that will feed on them.
Market (2022)
In a rural place in Suzhou, people roam around the marketplace. Despite the relentless motion among the merchants and the customers, the marketplace as a whole seems like a still painting. I simultaneously intended to captivate the motion and the illustrative scenery of the marketplace, using varnishing oil to blend my strokes.
Market(2022) was painted on a canvas with oil
Market(2022) was painted on a canvas with oil
Lak (2021)
'Lak' was inspired by multiple Korean mythological factors, including the Imugi and the Crow's omen. A faceless figure stands in the center. Blinded by Imugi's words of greed, the person loses their identity and persona, only to be filled up with toxic ambitions, which will eventually press them to death.
Rather than a proper story, 'Lak' demonstrates my understanding of the symbolism of Korea's spiritualism during Joseon: how a face portrays one's spirit and personality, which a distortion of description soon means their identity is lost (전신사조(傳神寫照)), Imugi's nature of deception and ambition, and crows as the epitome of omen. In Korean pronunciation, 'Lak' can mean both happiness(樂) and to fall (落). It is indistinguishable when written in Hangul (both are written as 낙). What may seem like joy can lead to one's downfall or the other way around. It is up to the person to decide.
Cycle (2022)
'Cycle' derives its inspiration from a Buddhist tale, 안수정등 Ansujeongdeung (岸樹井藤). Ansujeongdeung tells the story of a young monk who was chased by an elephant off the cliff. While holding onto the thin rope - with two mice gnawing it - the monk notices a herd of venomous snakes down the lake. Devastated, the monk looks to the sky, finding a dripping honeycomb. With drops of sweet honey in his mouth, he seems to forget the disastrous situation he is in.
Ansujeongdeung is an allegory of life, its hardships, and the ephemeral joy people find in such a short period.
Overall, 'Cycle' is a demonstration of my understanding of Buddhist culture.
It is painted on an illustration board with acrylics.
Ansujeongdeung is an allegory of life, its hardships, and the ephemeral joy people find in such a short period.
Overall, 'Cycle' is a demonstration of my understanding of Buddhist culture.
It is painted on an illustration board with acrylics.
Sketch of Cycle (2021)
'Cycle' was originally planned out as a school art project. For so, a two-point perspective and definite line works were required.
Chuyeong
Chuyeong, the mythical guardian set to protect the people from plagues and illness. Let him protect mine as well.
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