1985   Born in Gwangju, Korea

2011   B.F.A Fine Art Department, Seowon University, Korea

2013   M.F.A Korea Painting Department, Choong-ang University, Korea

Currently works and lives in Incheon, Korea

SOLO EXHIBITION

2013   RAN(亂)   Cheongju Art Studio|Cheongju Korea

2012   Record Mind-Face up to the Reality   Artspace H|Seoul

GROUP EXHIBITION

2014   NEXT CODE   Daejeon Museum of Art|Daejeon Korea
       Public Art, New Hero   NEMO Cultural Center|Seoul
       Artist - Death song   Hanwon Museum of Art|Seoul
       Lost record   Seongbuk Young Art Space|Seoul

This work began when I realized that there was something wrong with my feelings and reaction to record paintings displayed in a museum. The dictionary definition of record painting is a painting that realistically depicts a specific event and conveys its content visually. I wondered if the countless record paintings that have been made meet this dictionary definition. I doubted that we have exploited such record paintings to express our consciousness of authority in the frame of facts. This idea can be backed by reviewing the intent of the people who produced typical Korean, Chinese, and Japanese record paintings. The National Treasure of China No.1 Along the River During the Qingming Festival(Qingming Shanghe Tu) was painted by order of Emperor Huizong who had asked to contain the world. Japanese painters produced numerous record paintings to extoll imperialism. An example from Korea is Hwaseong-haenghaeng-do by Kim Hong-do by the order of King Jeongjo who intended to raise the authority of Prince Sado, his father. I realized that countless record paintings were made for the manifestation of authority. My work can be said to be an attempt to envisage another new potential in contemporary art by returning record painting, a taxidermic representation of authority, to its pure original meaning.