The ‘paper woman’ combines the natural components of Korean woman with the material properties of ‘hanji’ which includes an ambient natural color that conveys the viewer with a mild impression. The artworks had evolved in various forms through classical images to contemporary images. In 2009, the title of ‘the history of paper woman’, she emblematically depicted eleven women that had existed in the Korean history, such as Hwang Jin-yi and the Empress Myeong-seong.

For this exhibition, titled ‘a tribute to female – bojagi woman’, she had modernized the bojagi color and composition and united with ‘paper woman’ that had parodied ‘portrait of a beauty’ of Shin Yunbok, while in another work, the woman that appears in Buddhist paintings are counterposed to ‘five colors of Bodhisattva’.

The series of ‘the requiem of patchwork’; the massive work (5 x 5 x 20m) implies a kind of ‘salpuri(an exorcism)’ in other words, to resolve one’s resentment. The patchwork that signifies the colors and sense of beauty modernly reinterpreted ‘the annals of the Joseon Dynasty’ by dyeing the thin paper that is knotted loosely and is installed as a massive current with five vibrant colors. It recalls the five colors of cloth and seonghwangdang(shrine to the village deity) which it is the tribute to all the Korean woman who had endured throughout their life and to appease the woman’s souls through shamanism wishes.

The method of the artist works are exposed in various ways such as drawing, dyeing, staining, waxing the floor paper with ground beans, by rendering paper, folding and crumpling paper, cutting out and pasting the paper. The artist had tenaciously carried out substantial research on traditional material, moreover, she is the author of the techniques of traditional material book <The paint and color of our painting> and she continues her efforts to restore the Korean traditional coloring theoretically and practically.