ARTIST STATEMENT
My work begins with black, white, and the concept of negative space. Growing up in a Korean cultural context, I naturally embraced the aesthetics of monochrome and void. In my practice, negative space is not merely an empty background but a presence imbued with materiality. I see materials not as mere tools but as essential agents that shape the essence of my work. Charcoal and wood carry traces of nature and the energy of time, allowing me to explore the tactile experience of materiality. The negative space in my paintings is first constructed with black, and the white that follows interacts with the charcoal, emitting a unique radiance. Through this interplay of black and white, a new balance emerges, continuously redefining the boundaries between emptiness and presence.
MATERIAL AS A PRESENCE
Beyond a simple contrast of black and white, I seek a depth and presence that make these tones uniquely my own. In my pursuit of deeper blacks and pure whites, I found myself reflecting on the essence of pigment, ultimately arriving at charcoal—what I consider the foundation of black. More than a mere color, charcoal carries the traces of nature and the condensed energy of fire. As a pigment, its texture and depth shift depending on the granularity of its particles and the tools used, adding density and material presence to the surface. The white layered over charcoal is no longer just white; it transforms, absorbing and reflecting the presence beneath. These interactions of color and texture create an experience that can only be fully perceived in person.
My process begins by covering the surface entirely in charcoal pigment. This goes beyond a mere painterly act; it is a time of focus and inner discipline. The act of building up layers of charcoal becomes a form of meditation, and the work embodies the concentrated energy of this process.
2025
moonj