藝術與設計 | 編織藝術

出生於首爾（韓國）

15歲的時候就與藝術結緣並做出了改變人生的決定在美國，法國等國家學習藝術肯亞和烏干達生活了七年不同文化的地方都曾居住過在此期間進行了一系列的藝術創作在這些作品中最讓人們熟悉的是cornrows辮子髮型

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作品名：The Dreamtime

靈感來自原住民的故事和幻想創作每個編織圖案，由學生完成是一個古老的世界地圖山谷、山脈、森林、海洋、河流、溪流

- 微博@脫殼髮型 -

The DreamtimeThe Dreamtime is inspired by the Aboriginal stories and visions of creation. Each braided pattern, carried by the students, is a map of the ancient universe, a topographical palimpsest of the world in pattern: valleys, mountains, forests, oceans, rivers, streams. The painter and the hair-braider lay down their marks like their predecessor creator beings, carving and inscribing, creating and being, in turn, created by their labor. These braid patterns are the language for the new aboriginal, the transplanted and de-territorialized nomad. The braid patterns both record journeys to the present and re-present cartographical longings; they are a stamp of entry into a brave new world order while simultaneously re-membering prehistory.In the age of GPS cell phones tracking movement and satellite surveillance with biometric scanning recognition, the modern day aboriginal wears his location like an image-text on his . While previously, the imperative of the logo-centric perspective of the Renaissance artist afforded the viewer and the image-maker the semblance of control and superiority over nature, the aerial perspective–this view from above–reminds us that we are neither all seeing, nor all knowing, that we desire the release of our fascist egos.The Dreamtime is present time for the hair braiders and the aboriginal students. They are the weavers of patterns, who recover the mythical past of the natural world and its creation through the transmission of age old signs and images. Via these image-making practices, we are retracing the energy of the Dreamtime beings in order to be able “to tap into the power of the land and these Ancestral Beings” (McKnight, 32)