My creative research focuses on experimental installations and animations using sequential drawings and print media. Through interdisciplinary engagement, I explore the hidden layers within mundane images in my surroundings.
By capturing video clips and photographs of people and places around me, I delve into the concept of invisible everydayness and its repetitive movement. Being a first-generation Korean American immigrant, I often grapple with feelings of being discredited and marginalized within my environmental context. This sense of invisibility is reflected in my stop-motion animations and installations, where human figures are periodically erased, re-drawn, and erased again. In the printing process, each image overlaps the previous one beneath the plate, creating a coexistence of the past and present on screen.
During the pandemic, I deepened my social engagement with BIPOC communities through print animation projects. The “Passersby Series” presents surveillance-based imagery addressing hate crimes, while the “Smoke Series” reflects on recent natural disasters such as earthquakes and wildfires. These incidents – whether hate crimes or natural catastrophes – stem from unprecedented disasters that have become an integral part of our surroundings, demanding our attention and response.
I navigate the intricate interplay surrounding these unprecedented circumstances by exploring diverse perspectives. I continue to visualize non-historical layers across different geographical and cultural environments, reflecting on my passage as a sojourner. Through this exploration, my aim is not only to capture the sense of personal invisibility but also to unveil the shared narratives that connect us all.
