덩어리_Die Masse_The Mass
모난 덩어리_Die eckige Masse
Since 2015 ongoing, Various sizes, Pencil and acrylic on Fabriano-pittura/ Hahnemühle paper

완전한 검정 혹은 백색의 평면 위에 섬처럼 떠 있는 비정형적인 색의 덩어리 – 설명할 수는 없지만 실제 감지했던 복합적 감정을 색의 덩어리로 표현한 시리즈. 같은 맥락이지만 의도적으로 설정한 색의 수 한계를 풀고 검정과 흰색 바탕이라는 평면 조건도 변화시킨 시리즈 – 이런 변화의 계기는 시간과 자연이었다.

형용사로서의 색채-명사_Color as adjective-Noun
Since 2022 ongoing, Various sizes, Pencil and acrylic on Fabriano-pittura paper

지금까지 나의 주관적이고 불명확한 감정을 묘사하기 위해 형용사로서의 색채를 탐구해왔다. 2012년 첫 시도 이후 지금까지 10년의 시간 동안 기록된 색–감정의 관계는 어떤 개념으로 설정하는가에 따라 다양한 색의 관계를 실험할 수 있다. 
현대 한국 사회는 변화무쌍하고 역동적이지만 예술가로서의 개인적인 삶은 형용사로서의 색채가 보여주는 것처럼 때론 기뻣지만 대부분 불편하고 우울한 경험이 많았다. 기쁨의 순간은 짧게 공기 중에 흩어지고 우울함은 깊은 내면에서 솟아 올라온다. 분노는 붉게 염색하듯 시야를 흐리게 하고 미래에 대한 불안은 신체 전체에 퍼져 불면의 밤을 선사한다.  
그렇게 기록된 형용사로서의 색채 370여 개를 다시 바라보았을 때, 그동안 찾고자 노력했던 색–아름다움이 그곳에 있었다. 고통스러운, 아련한, 막막한, 어리석은, 친절한, 그리고 때론 평온했던 일상. 살아있기에 느낄 수 있었던 감정과 마음으로 바라볼 수 있었던 색의 조합–아름다움.
빛에 따라 색은 서로 다르게 보인다. 누가, 언제 보는가에 따라서도 다르게 보인다. 내게 중요한 것은 물리적인 특성로서의 색의 탐구가 아닌, 지금 나에게 그것이 어떻게 느껴지는가이다. 이 느낌은 매우 유동적이고 불명확하며 모호하다. 그래서 형용사다.
그렇게 만들어진 색–감정의 관계를 빨강, 파랑, 초록으로 정의한다. 이번 정의는 미래에는 변화될 수 있는 현재까지의 정의다.

Die Masse_The Mass
Angular Mass_Die eckige Masse
Since 2015 ongoing, Various sizes, Pencil and acrylic on Fabriano-pittura/ Hahnemühle paper

An amorphous mass of color floating like an island on a plane of pure black or white – a series expressing complex emotions, indescribable yet tangibly felt, through masses of color. A series within the same context but liberated from the intentionally imposed limit on the number of colors and altering the planar condition of black and white backgrounds – the catalyst for this change was time and nature.

Color as adjective-Noun
Since 2022 ongoing, Various sizes, Pencil and acrylic on Fabriano-pittura paper

Until now, I have explored color as an adjective to describe my subjective and ambiguous emotions. Over the past decade since my first attempt in 2012, the recorded relationship between color and emotion allows experimentation with diverse color connections depending on conceptual frameworks.
Modern Korean society is ever-changing and dynamic, yet my personal life as an artist has often been uncomfortable and melancholic, as shown by color as an adjective, though occasionally joyful. Moments of joy dissipate briefly into the air, while melancholy wells up from deep within. Anger blurs the vision like a red dye, and anxiety about the future spreads throughout the body, gifting sleepless nights.
Looking back at those 370 recorded adjectival hues, the color I had long sought—beauty—was there. Painful, hazy, hopeless, foolish, kind, and sometimes serene days. The combination of colors I could perceive with the emotions and heart that come with being alive—beauty.
Colors appear differently depending on the light. They also appear different depending on who sees them and when. What matters to me is not the exploration of color as a physical property, but how it feels to me right now. This feeling is highly fluid, unclear, and ambiguous. That’s why it’s an adjective.
I define the relationship between color and emotion thus created as red, blue, and green. This definition is one up to the present, subject to change in the future.