My hanji works inhabit the subtle space between presence and disappearance.

Using a restrained palette and an air-like openness, I draw from the meditative discipline of East Asian brush practice while exploring surface and material through a contemporary lens.

 

Color, for me, is breath—expanding and contracting. Form appears only briefly, never fixed, never complete.

I seek not representation, but resonance: the faint pulse that remains after the image fades.

Freely suspended, hanji becomes a permeable membrane, holding traces lightly, where appearance and disappearance coexist.

Painting unfolds as a quiet negotiation between stillness and movement, memory and emergence.