a)Get up and wish I got up a
bit earlier. Take a shower and have breakfast while listening to dutch talk
radio. Go to my studio to work on new drawings or paintings and get distracted
by internet. Recieve a call from a friend about stressful work, find out music
people think i'm a teacher and accidentally get a great new idea for a new hip
the other side of the city on my bicycle to get a roll of film developed,
return to the studio and overhear someone in an other studio talking very
loudly about pregnant prostitutes. Work some more and return home to cook or
eat out with my girlfriend. Work some more at night and maybe watch a
motorcycle gang series before going to sleep.,
Where did you grow up/where do you live now and how does that contribute to
grew up in a village called Zuid-Beijerland, close to Rotterdam
in The Netherlands.
Because my village and the surrounding villages were so small, all the kids
from those places were put in the same class in high school. That's why there
were lots of trashy, strange kids in my class who were very nice to draw. But
somehow I was too stupid to finish high school and ended up in a technical
school in Rotterdam.
There I met more strange characters, like young moroccan drug dealers trying to
sell me tasers, guys making their own guns, and a part-time croupier with a big
sword. This all seemed very nice until I had to actually start working. Then I
tried to escape to whatever art school that was willing to accept me, so I
ended up in Rotterdam,
where I still live.
is your earliest memory that propelled you to create?
propelled me to create and wanting to become a car designer, so I did more
constructing then drawing. I only started drawing in my observational style
when I met my superkrisis classmates in high school.
us a little bit about your creative process.
there is something or someone interesting around I start drawing in a cheap
notebook. (At the moment I use notebooks made of blank yellow papers, because
that kind of paper sucks up the in very nicely.) If its gone too fast or
whatever I take a picture. In the studio it take more time to start working,
because most of the time I combine various source-pictures in one drawing.
do you wish for your art to be perceived?
hope people will see the world around them a bit different after viewing my
krisis people and skewed environments.
do your internal dialogues sound like?
I'll finish this painting., Mmm what's happening on facebook,, ah! I should
work on., ….................. Ai , there is still one drawing to upload on tumblr,. Ok , work on … …..... .
.. . . Mmm, interesting race-bike
wheels, buy new tires as well? How much are the shipping costs compared to this
other shop?... stop! work on! ..Maybe it's easier to start with dark colors
first and add lighter ones on top instead of the other way around.. Should I
make this next one on paper or panel...?
Can I still find the pictures I need? , , , Aah, It's already 14:00.
Aaagh, this gouache stinks, why do some colors start rotting while others stay
fresh? Maybe if I let them dry they will stop stinking...
you feel that there are limitations to what you want to create?
mostly a lack of time and an abundance of distractions that limit me.
you feel art is vital to survival and if so, why?
for survival maybe only food and shelter are vital. But for me it's an
important part of my life, as I'm always drawing of making things.,
Describe a world without art.
probably won't look so different, only museums and art schools would be
shopping malls or hotels, and galleries would be shops. But if all art is gone,
people will immediately start making new work, except maybe when there is a
worldwide dictatorship and all art is banned, but then artists can always go
us a secret, and obsession.
a)I am an otaku of
q) Where can
people see more of your work on the internet?
On my website, and new
drawings and other small stuff on my tumblr
a)being an artist today
especially an “emerging” artist is a juggled life. I work a full time job. When
I get up I pretty much go to work. I work till early afternoon and then come
home to my live/studio space and go about normally life with my family. I work
mostly at night unless I have pressing deadlines in which I work whenever I
have the free time/all the time. I marry my life and my practice so that
whenever I have a moment or the quick need to make something or complete
something my studio and work is only a room away. It works for me to integrate
that way rather than having a separate studio to escape too and spend hours
q) Where did you grow
up/where do you live now and how does that contribute to your art?
a)I live in ClevelandOhio
where I grew up. I recently had children and family is important to me so I
moved back to my hometown. I like it. I find comfort in the history and the
connection. My work is very humanistic and about the experience of life so
participating in a relatively normal life only feeds to my inspiration and
q) What is your earliest
memory that propelled you to create?
a)I always was a sketcher
and people always responded to it. That attention sort of shapes you much the
way a good athlete is promoted at a young age. You realize that something you
like to do you are actually good at and it drives you to do it more. Although I
doubt I could have stopped. Life throws curves at you all the time and art has
at times stopped for me but like a boomerang it is the urge that never goes
away. It is inside.
q) Tell us a little bit
about your creative process.
a)I first started
responding to the nature and power of photographs by making pictures from
photographs I found online. Folded paper dioramas that I rephotographed to make
a sort of simulacrum, a photograph of a photograph. I really tried to fool the
viewer into thinking the subject was real. My take on the photo as truth debate
or thinking about image as object. As I worked through my process I started
liking the “crappy” aspect of my sculptures and how I really could tell a story
through the paper pieces. Much like a painter would construct a painting I
would make elaborate scenes out of paper/photographs and cardboard and then
photograph them. The result was a strange awkward filtered reality. It played
well into my thinking about the nature of photography and its ability to
satisfy us as experience and memory. The filtering creates a strange world that
we as a society have come to accept as standard. I really love the intersection
of fantasy and reality. Recently I have been drawn to just using the sculptures
and displaying them as a tableaux. I have become better at making them and they
really stand on their own as powerful objects.
q) How do you wish for
your art to be perceived?
a)I have a really good
sense of humor. I feel humor is not silly it really is about sadness and
duality. I want my work to be inviting but unsettling.
q) What do your internal
dialogues sound like?
a)I doubt everything. Art
school does that to you, forces you to be critical. I’ve learned lately though
to trust myself and to know when something doesn’t work and to be okay with
failure. But I am always asking myself “does this work”. Also I am always
observing and participating in all life has to offer. It is were the
inspirations come from. For me art has to come from life.
q) Do you feel that there
are limitations to what you want to create?
a)Sure. I am limited to
what I can make from the paper. But then often times I surprise myself with
what I can make.
q) Do you feel art is
vital to survival and if so, why?
a)Not really. I will
always create and communication is vital but art plays a funny role these days.
Life is so rich and textured, art is just a small piece of the grand view.
q) Describe a world
a)Art is everywhere and
not just the gallery high art, capital A art. It is so many things. I would
imagine without art things would be pretty dull.
q) Tell us a secret, and
a)I love bad television
and terrible pop music.
q) Where can people see more of
your work on the internet?
a) I work
from home as a freelance illustrator, along with my partner who does remote
tech support for a living. We make meals together, and work beside each other
at our computers. I’m pretty fortunate to be able to have such a comfortable
work-day, and it should allow us a lot of freedom whenever we decide to start a
q) Where did
you grow up/where do you live now and how does that contribute to your art?
a) I was born
in southern California,
and grew up in a military family. Most of my childhood was spent on military
bases all over the world. I like to think it’s given me a broader perspective
about the world, and the diversity of people in it. I’ve ended up in Vancouver, Canada,
which has some of the best sushi I’ve ever eaten.
q) What is
your earliest memory that propelled you to create?
a) I wanted
to see the stories in my head become real. The next best thing was to make them
q) Tell us a
little bit about your creative process.
a) I tend to
work very conceptually. Most of my illustrations start off as ideas or messages
that I want to express somehow, and must find a way to represent those ideas
q) How do you
wish for your art to be perceived?
a) I think
that’s up to the viewer. I try to put a lot of symbolism into my work for
people to unpack, but ultimately they’ll bring more ideas to the table than I
could ever put into it or anticipate on my own.
q) What do
your internal dialogues sound like?
inane, I assure you. For instance, I’m currently enduring a heat-wave by
thinking about how much nicer it is than a zombie apocalypse.
q) Do you
feel that there are limitations to what you want to create?
a) Only the
ones I impose on myself. If it’s out there, it can be learned.
q) Do you
feel art is vital to survival and if so, why?
a) It’s more
an incidental consequence of survival. Our creative impulses are what have
allowed us to invent and remake the world around us. Art is just one of the
ways we exorcise those instincts. More importantly, it is vital to culture, in
much the way that the madness of dreams allow us to be sane when awake.
q) Describe a
world without art.
a) A world
without art HAS no description. That would be the problem.
q) Tell us a
secret, and obsession.
a) I once
broke one of my mom’s clay sculptures and blamed it on the neighbor kid. She’d
said she was done with it, which I interpreted to mean she was getting rid of
it, which sounded like a great opportunity to have fun smashing it. Oops.
And I am obsessed with bottles and boxes. I collect them compulsively. I keep
telling myself I’ll use them for something, but mostly they just take up space
on my shelves.
q) Where can
people see more of your work on the internet?
When I was 7, I got shocked about creation by the cartoon that my cousin drew. The
passion of creation, instead of the thinking of being an artist, made myself.
q)What are your tools of the trade
I usually use oil paint or acrylic paint, but I'm trying to use variety
materials in needs. I'm also planning to do sculptures in this year. I think
the tools are just the way to transmit, so they should not be the purpose of
q)Who or what gives you inspiration on your morbid art?
All people around me, and myself. The complicated emotions that I feel through
people are my motive.
q)Is your artistic background
self-taught or did you go to college to study?
I studied fine art in art college.
q)How do you keep “fresh” within
I just forget about last artworks. I just do art without plans.
q)What are some of your current projects?
Most of current works are oil paintings, but I'm thinking of many kinds of
q)Which of your works are you the
most proud of? And why?
Painting, . It's better to say that it's the first paiting that I've done
when I got back to Korea
There's no specific reason.
q)Are there any areas, techniques,
mediums, projects in your field that you have yet to try?
I'm planning of many kinds of art, but I'm not afford to do that yet. Sculpting
and video art.
q)What do you do to keep yourself
motivated and avoid burn-out?
I just live in my studio and it's my daily. And I look a lot of young artists'
works on internet.
q)how do you spend most of your
Almost everyday is my free time. I usually spend time at my studio if I don't
have any special schedule.
q)What contemporary artists or
developments in art interest you?
Alex Kanevsky, Antony
Micallef, Amazing Works, and Justin Mortimer.
q)We really like some of your
pictures, how can we get our hands on them? Do you sell them? How?
They are being sold on Saatchi online, or you can trade with me directly
through e-mail or Facebook. It's better for me to trade directly with me,
q)For the people who don't know
your work - how would you describe it ?
a)It’s like a hangover after a party, when you have to start drinking again to
avoid feeling sick.
q)What are the key themes running
through your practice?
a)Most of the work addresses themes of romance, sexuality, nostalgia and a
sense of the absurd. These themes can be articulated through implied narratives
or the juxtaposition of pre-existing materials and objects.
q)Your favorite place on earth?
a)I like watching dumb TV shows with my girlfriend while laying on my pullout
couch. Also, during the winter I love the Corner Bistro in NYC. Eating
cheeseburgers and drinking cheap beer and watching people walk in the snow.
q)What influences your work?
a)My work is mainly influenced by strange things I witness just walking around.
In New York City,
the things you see can be very bizarre - in a David Lynch sort of way - and
that kind of absurdity inspires me the most. Like a guy dancing with a garbage
can, or a child on a leash.
q)What music are you into right now?
a)Lately I really enjoy listening to boring talk radio shows. And always The
White Stripes and Nine Inch Nails.
q)Describe your thought & design
a)Usually the idea for a piece will come from a particular object that I find.
If I’m out looking for materials, I see things that register as having
potential for a work. Whether it’s an old piece of furniture or a weird dress
or a large dog bone or something. So I try to acquire the materials and then
let the idea develop afterwards.
q)Which emerging artists are you
looking forward to seeing more of?
a)Andrew Brischler is a young painter from NYC. And also Austin Lee, another
young artist who studies at Yale and makes very weird paintings. And Jayson
Musson, who turns sweaters into art. Also Cassandra Levine, who is studying at
the School of Visual Arts.
q)Favorite place on the internet?
a)I like looking at pictures of weird animals on google. And now that I am in Florence for a few
months, I’m writing about all of the amazing food on my blog: www.openwideny.com.
q)Do you have any upcoming
projects/exhibitions we should know about?
a)I currently have work in an awesome group show called Deep Cuts, curated by
Wendy White and David Humphrey at the Anna Kustera Gallery in NYC. I’m also
incredibly excited about my upcoming solo exhibition on April 30th at the F_AIR
Gallery in Florence,
where I am the artist in residence.
q)Tell us something we don't know - but
a)I’m working on a couple of short videos for people that will be out soon. One
is a promo video for Joyce Pensato’s upcoming solo exhibition at the Santa MonicaMuseum of Art. The other is a happy
birthday video celebrating the one year anniversary of Maurizio Cattelan and
Massimiliano Gioni’s Family Business Gallery in NYC.
q) Where can people see more of your
work on the internet?
the people who don't know your work - how would you describe it ?
a)I’m interested in juxtaposing traditional
handmade crafts with extreme elements found on the fringes of society. My work
can be described as opposing forces colliding at lightening speed. Imagery
found in Heavy Metal music, the Occult, and Motorcycle Gangs are stitched
together with recycled materials using techniques usually relegated to your
Grandmothers sewing circle. Serious, yet attempting to take on a B movie Horror
film style where ridiculousness becomes genius. The question remains… Can I
play with madness?
are the key themes running through your practice?
a)Some of my more recent pieces are heavily
influenced from tattoos and certain aspects of biker gang culture. The majority
of the work borrows from the Occult, Mysticism, and Music.
favorite place on earth?
influences your work?
a)Reading books and researching ideas on
music are you into right now?
a)The new Baroness album Green / Yellow ,
YOB, Hazzards Cure, Zoroaster, Acid King, Black Cobra, Kylesa, Red Fang
your thought & design process...
a)The process begins with a hand drawn
sketch transferred into photoshop for further manipulation and re-sizing. Each
t-shirt is then hand cut to a corresponding piece within the overall design and
appliquéed onto the top layer using my Juki F-600 sewing machine. The final
step is to bind all layers of the piece by sewing the quilting stitch. In the
end...even the beasts of Hell need a warm blanket to sleep with!
emerging artists are you looking forward to seeing more of?
a)Erin Riley, Bill McRight, Kevin Earl
Taylor, Jeff Eisenberg...
place on the internet?
have any upcoming projects/exhibitions we should know about?
a)I will be exhibiting work at Circle
Culture Gallery in Berlin, Germany and Milton Keynes Gallery in England in the
next 2 months. My work is included in the book Milk and Honey: Contemporary Art
that was just released via Ammo books and is now available through Barne and
Noble or Amazon.comAmazon.com. Get This! Gallery will be
exhibiting some of my quilts at the Aqua Art Miami fair in the early December.
Check out HUCK Magazine: The Identity Issue....I have a small interview in
us something we don't know - but should...
a)I am a self-taught quilter and am still