Artist Statement : Weaving Work

At the beginning of my graduate study at Cranbrook Academy of Art, I was asked where my images came from and what is the meaning behind them.  This question lead me into researching symbolism.  First, the Japanese symbolism that I had been surrounded by, then more universal forms, and finally I began to develop personalized symbols that enabled me to communicate certain concepts about reality.  I use these symbols in my artwork.  My artwork reflects something essential in the way I envision the world.  The world depicted in my work is often divided into a number of “space/time” shapes through which and into which my symbolic characters stand, move, and act.  These “space/time” shapes exist in the layers of different spiritual realms.  Everything contained in these images is constructed of “light corpuscles”.  These forms are ethereal and seem to easily disperse.

For instance, in the work “The Sources”, what is being represented are the sources of all life energy for all beings.  The sources exist not only in this three dimensional world but also in the world beyond our visual perception.  The sources provide energy to all beings throughout these realms, whether they are aware of it or not.  The beings are not only absorbing the energy from the sources, but they also recreate or transform the energy for other beings.  Thus the energy sources will never dry up or die.  These sources take an infinite number of forms.  The purpose of the existence of energy sources is “giving” and at the same time “connecting” all beings.

In my recent series of work, "A Phase of Light", light represents an energy source from a spiritual view.  The overlapping, growing circles of luminous light emphasize the positive quality of the energy.  The numerous lights begin to suggest their endless and infinite numbers.  The light exists like air for us.  It is so common that we forget its quality as an essential and vital energy source.

 Weaving is a logical construction method combined with sensual and visual expressions. It is a human tradition combined with technology. I am fascinated by the unusual balance.

I invented the method of my original technique of "combination of warp painting and weft painting".   This is one of the most labor-intensive processes one may find in weaving.  At first I weave four sections of white cloth.  After painting on them with dyes, the four sections are unwoven for the purpose of exchanging and recombining, and then they are rewoven into two finished weavings. 

There are two vital aspects of textile/fiber arts that led me to develop this original technique.  One is the range of possible ways the construction of fibers can carry light and color.  The other is the fascinating integration of the arts of weaving and dyeing.  The process of the technique also matches the concept of my imagery.  Through the consecutive actions of painting, deconstruction, and reconstruction, I observe the image disintegrate and transform. 


Silk Painting

The imagery depicted in my weaving work is intuitively derived and I usually create the initial drawing in a quite short period of time.  Executing my woven work demands an immense amount of time, with highly detailed plans and the processes well mapped out.

While working on such a project, I often direct some of my creative energy to a less demanding medium such as silk painting.

Even the process of silk painting is demanding. Using dyes and water insoluble resist material requires a good bit of technical know-how and concentration.  Once applied, the lines cannot be erased and the dyes cannot be taken out or easily corrected.  However I use these constraints to my advantage.  When I face the white silk, I work very intuitively with a high degree of focus.  I employ an improvisational method that allows for great freedom and depth of discovery.  In order to do this I need to tune to my higher self.  This sets me free at the same time it enables me to a better connect to the source.