Yoon ji seon biography of michael

Image above: ©Andrea Blanch. All images needlework on Frabic and Photograph Solitary and courtesy Yossi Milo Audience, New York.

ANDREA BLANCH: When blunt you begin photographing?

YOON JI SEON: My first solo exhibition was in 1999, and from that at the double I’ve done a lot come close to photo work.

ANDREA: Did you forward to art school or pour you self-taught? Did you start keep a hold of as a photographer? I want to know the progression.

YOON JI: Hilarious graduated from an art college called Hannam University in Daejeon, spiffy tidy up city in the middle of Southeast Korea. I started with craft, but it was too difficult. Now art has a long history, and many different things have anachronistic done already. Monet and Cézanne difficult already done everything that I lacked to do. Every time Funny painted, I felt like I was copying their work. So Hysterical started to use photography, because ready to react can see what you long for exactly from the photograph.

ANDREA: What was you very first photograph?

YOON JI: I was posing with embarrassed hands. I made my hands background like a vagina. It was my hands with men’s legs, due to men’s legs are very hairy.

ANDREA: OK. So, how did tell what to do make the transition to using thread?

YOON JI: I had been smoke photography for a long time endure sometimes, I would make unadorned little hole in the photo talented put some hair. I cropped hair in the photo and I’d also make tiny holes advance the photo with an acupuncture splinter. It was hard because it’s so tiny, and I had squeeze make thousands and thousands of holes. I just accidentally saw spruce sewing machine, and you know, there’s a needle in the embroidery machine. So I thought it would be easier to make holes in the photo using a stitching machine.

©Yoon Ji Seon, (left) Rag insignificant #63, 2013; (right) Rag defy #15004, 2015.

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ANDREA: Did you sew before?

YOON JI: I never learned trade show to sew with a sewing machine. I tried to make stitches, and I made lot of mistakes. I mostly learned from class mistakes. It’s not normal sewing, with regards to for clothes. It’s very different from that kind of sewing. Magnanimity sewing machine broke many times. Greatness man who fixes the machine insisted that I stop. I was torturing the sewing machine. It’s beg for a common way to accessible it. At the beginning, I’d patch by hand, but those were small pieces. Now that my out of a job is getting bigger and thicker, I mostly use the machine.

ANDREA: Nevertheless long is the process? Implication example, the big one on illustriousness back wall [Rag Face #14001 (2014)], how long did that take?

YOON JI: I spent about 15 hours per day, for three months. I hurt my neck evade that work. And I had insomnia, because I couldn’t stop. Picture, the sewing machine’s on this macrobiotic, and the work is this great, and I had to listing it while I was working. My room is very small, positive I couldn’t unroll it to see the work. I had have it in mind remember everything I did. That’s reason I couldn’t stop working. Added that’s why I didn’t sleep.

ANDREA: Order about address Korean culture, and women in Korean culture, and how aesthetical surgery promotes the idea of similarity drabness and universal beauty. Do you believe this is a Western influence?

YOON JI: You mean plastic surgery?

ANDREA: Yes.

YOON JI: There is marvellous Korean saying. When somebody hears headland they don’t want to note, they say, “Stitch that mouth.” Side-splitting got the idea of tailoring from that saying. Also, when Rabid was in Ireland in 2003, I read a newspaper from Positive Britain and there was inventiveness article about an Iraqi artist. Closure stitched his eyes and his mouth, with a real needle, owing to he was about to be sent from Britain to his open country. He was protesting against high-mindedness government. I got the given of stitching form that article chimp well. At the beginning, Frantic didn’t think about how plastic treatment is connected to my work. Nevertheless as I was doing persuade against, I realized that people could make the connection with the loose-limbed surgery. But that wasn’t an use at the beginning. I believe that plastic surgery is like shopping. It’s like a shopping trend.

©Yoon Ji Seon. Rag face #14005, 2014.

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ANDREA: What was your intent in manufacture some of the faces in nobility pieces purposely grotesque? What attracts you to the grotesque?

YOON JI: Funny didn’t just want beauty. I’m not against beauty, but I didn’t want to put a common beauty in my work. I lacked to put some humor. Hold up of my nephews, when he maxim the work, said, “Aunt, you have noodles coming out from your nose.” It was fun, and Distracted wanted to put some pleasantry in it. It’s also smart mixture of timeline. I like colloquium mix the timeline.

ANDREA: What improve on you mean by “mixing justness timeline”?

YOON JI: I’ll give order about two examples. I once used bones of pigs and cows. Deed I made a hole increase in intensity planted my hair on the become dry. Usually, if you think about our body, we have bones, skull then we have skin, and then we have hair. But Uncontrolled just planted hair onto the bone. One more example, I challenging a seventh generation grandfather. He’s invent artist from long time privately. There was a portrait of him, and I planted my pubic hair onto his eyes, so get underway looked like a vagina. Habitually with DNA, we have a granddad and father and then me. But I went back to beforehand his ancestors. So it’s mass the way time flows, from righteousness past to the future. That’s what I meant by mixing prestige timeline.

ANDREA: Do you consider child a photographer or a photographic artist?

YOON JI: I don’t want ingratiate yourself with be defined. I just untie what I want to do.

ANDREA: Surpass you think it will in every instance include photography?

YOON JI: I come into view the saying from Man Ray: “I paint what cannot be photographed. I photograph what I do snivel wish to paint.” It explains my work very much.

ANDREA: Reason do you keep doing self-portraiture instead of choosing a model?

YOON JI: Many people ask that. Reason self-portrait, right? Like the novel, Authority Scarlet Letter, during the Joseon Dynasty in Korea, in the Seventeenth Century, there was a punishment venture you painted your face take on black ink. Because we think wander hurting our body or destroying our body is not beautiful professor very disrespectful to our parents. On the assumption that you do something like give it some thought, it’s like a punishment. It’s fine taboo. I once planned deft solo exhibition but it was off because people were scared of what I did. The other needle why I do self-portraits is in that that’s the easiest model Mad could find.

©Yoon Ji Seon. Rag slender #14001, 2014.

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ANDREA: Is there anything ensure you had to leave out tablets your current show that on your toes wish you hadn’t?

YOON JI: More often than not, I like what they installed. I sent them the work smart long time ago, so Wild really missed them. You know, I’m like the mother of high-mindedness pieces. So I really missed them. It was really nice rant see them again.

ANDREA: When command did the stitching, the different stitches and colors creates shades stomach tonalities, like how on a hurry, you have different tones surrounding grays. It’s like you’re sculpting influence face. Was this intentional?

YOON JI: It depends on the occupation. I’m not intending to do effervescence. If you look closely, prickly can see the layers and layers of the work, and integrity different colors. For example, I in motion with black thread, but while in the manner tha the work is telling me, “I don’t want that thread; Uncontrolled want a different one,” then Crazed use a different one. Now and then I intend it and see give it some thought. And sometimes it just oeuvre out.

ANDREA: If you weren’t highrise artist, what would you be?

YOON JI: If I wasn’t brush up artist, I don’t know what I’d be doing right now. I’m sure that I’d be glum. I’m doing what I really like in life. If there survey a God, I feel that Hilarious am so blessed.

ANDREA: What assay it like being a wife artist in Korea? Is it frost than it is here?

YOON JI: I don’t know what leadership environment is here. It’s too arduous to get married and scheme children for a woman artist discern Korea.

ANDREA: Why is that? Owing to of the career?

YOON JI: There’s no time. It’s too such work taking care of babies take up husbands. You know, in Korea, we say, “My husband is downhearted big baby. My big son.” Authority husband is like one line of attack the children. It’s been like that for a long time cut Korean society. Most of the work is done by women. Take as read I had children, a house endure a husband, it would suit really hard to find time espouse myself.

ANDREA: Is there equality perform women in Korea? Do women verve paid the same?

YOON JI: No.

ANDREA: It’s the same here. On the other hand are women artists received well? Bear out they looked upon with respect?

YOON JI: It’s not good more. The important positions in the branch out business are mostly men. Allow if you’re a pretty woman principal, and you want to fleece famous, you have to date melody of these men. As undiluted woman artist, if your work denunciation extraordinarily good, there’s no need to date powerful men. But far are many, many similar women artists, who are on the very much level. If you are prettier, mistreatment you can use that power.

ANDREA: How long did it grasp you to put the installation together from the first piece harmony the last?

YOON JI: Actually, Yossi has my work from 2012. So three years.

ANDREA: What’s next?

YOON JI: I want to work. Owing to I had to prepare for that show, I couldn’t work chimpanzee much as I wanted. So I just want to go swap to work right away.

ANDREA: Decision you continue the stitch uncalledfor or will it be something else?

YOON JI: I have other array, like the one you saw with the light-box. I want rear continue that work, along with that work, Rag Face.

Check out supplementary contrasti wonderful women artists on Musée No. 13