<Touching Collabo>  

Artist's note 

 I wrapped a mannequin on which my sensibility was added with plastic wrap or locked it up in a square show window. This is my expression mode toward fusion that desires and restraint coexist and that languages of the past and the future are touched by that of the present. 

 Beoseon (traditional Korean socks) or objects stitched on the screen are strategic materials to unconsciously force absorption and to stimulate one's sensibility. Through revealing these materials, I hope to call in positive curiosity and to have effects of mere exposure. These hopes are consideration to go with unpredictable feelings and my intention to approach Giacometti's lightness is hidden in the body of the mannequin. 

 I have been a designer as a career and the dialogue with mannequins has been of cold monologues. That monologue-like dialogue with machine reproductions, however, have aroused unexpected pleasure and I start to secretly make a stage for play which goes beyond the reality by touching mannequin on which my sensibility is added.   

 I picked up textile puzzle pieces on the worktable and carried them to the screen and began drawing with cursive lines which reminded a skein. It deluded me as if drawings of Egon Schiele had come over to my space for a moment. I was so much excited and then I should calm myself down yet again. That was why my body needed labor. I started make a support by piling up hanji (traditional Korean paper handmade from mulberry trees) and the dense space of hanji lightened the sewing work. Then, I stitched with a surgical needle on hanji slowly and vaguely. Sewing is a connection between spaces and the passages of time with past-present-future. I have learned through works that it also is an act to loosen a series of desires and to forgive and heal with women's efforts and aesthetics of slowness.