Estimated Line of General Happiness and Enjoyment Since Moving Abroad (To Korea in 2010) for the First Time


This piece is really difficult to take a full picture of as you can imagine.

Estimated Line of General Happiness and Enjoyment Since Moving Abroad (To Korea in 2010) For the First Time, 2016
10 meter scroll
Canvas, spray-paint, markers, crayons
:In Collaboration with Haesook Kim, Laura Veron, Julie Finelli, Hui Ung Jin, and Gyul Jin






Interview questions asked by Leela Bear, August 2016
(In consideration of the (solo)exhibition at Palsa Gallery and Artist in Residency Program at Art Space Jang)

What is the focus of this body of work?

I wanted to use this residency as a platform for exploring what collaboration could look like in my work, mixed in with an element of chance.

The focus piece of this exhibition explores your experience of happiness since moving to Korea in 2010, why did you choose to have other artists collaborate with you on such a (potentially) personal piece?

Happiness is subjective; it changes as your perspective does.  The dates represent times I had traveled back to my home country and were used as neutral markers. I thought that other artists might have specific memories relating to those marked times of the previous years. So, I wanted to encourage those contributors to take part by reflecting on this specific selection of years and dates.

How do you feel Korea has influenced your work?

Korea has influenced my work immensely. I’ve had the opportunity to join several residencies here that have shaped my work. I have been able to play the role of the outsider here in Korea exploring a culture unique to my own, and also looking back at my home country culture in a new context. Korea’s focus on community has played a defining role in my work, and living abroad for an undetermined period of time has influenced the type of support/ surface I use in my work to be of a more nomadic quality.

Art Space Jang Residency 2016


Visual Accessions

Visual Accessions was my one-year undergraduate Thesis project completed in 2010.

Visual Memory Accessions

We live in a world of instants. You can access information in an instant. Things happen in an instant that change the course of your life. This is important because as fast as things happen, we spend our whole lives to reacting to specific live-changing moments. What I am exploring in my work is the reaction to an instant. What happens after moments occur within the lives of people is that they change or resist, but they maintain memories, fragments of information that become locked in their subconscious. In his book, The Psychology Of Picture Perception, John M. Kennedy explains: “Sometimes we read a label or caption before looking at the picture, but more often, probably, we notice the picture first and recognize the pictured object without any help from the accompanying words”. What I am exploring through tactile experiential image making is the concept of a shared consciousness within society. My work is created freely without using reference objects or images. When I work into these images, carving and painting, I am challenging the persistence of memory with the interaction of the present. In the end what the viewer sees in the abstract work is ultimately reliant on their individual visual life experience independent of my implied intention.

You can read the full paper at the link below:

Undergraduate Thesis Project: Visual Accessions, Final Paper

Visual Accessions (24 in Total) 2010, 9/12 inches, oil, encaustic on birch panel



April Presentation_o



Observer Perspective


Acrylic, Ink, Thread and Crinoline on Felt, 2011

“I started painting on felt as a way of considering my nomadic lifestyle, and ended up painting nudes on watercolour, which were later sewn into a larger canvas, and given tulle skirts to somewhat cover up their private bits as a reference to the conservativeness I encountered living in Korea”.

*19 water-colour nudes, ‘Vagina Monologues’, Vinyl Underground, Busan
February 27th, 2011 (Temporary solo exhibition and performed: “Not So Happy Fact”)

**Fruit On the Vine, ‘Linear Landscapes’, AGIT Exhibition Space, Busan
March 12th – April 8th, 2011 (Solo painting exhibition as Artist-in-Residence) 

***Observer Perspective, ‘ART Battle @ QWAC, Gladstone Hotel’, Toronto
September 16th, 2011, 9 pm
(Mural installed and performed as a painter, making it into the second round)

****Observer Perspective, ‘Transient As a Shadows Echo’ Dazzle, Busan
Feb. 13th – Mar. 10th, 2012, Opening event Feb 18th, 11pm
(Solo Painting Exhibition)

*****Observer Perspective, ‘Art Battle Montreal’, Matahari Loft, Montreal
Friday April 14th, 2017, 7:30pm
(Group exhibition and performed as a painter)

There was a time in art history where women were only seen from a voyeur’s perspective. The viewer gazing upon a woman or group of women who appeared unaware of the attention. And then suddenly the women looked out to the viewer, real models, displaying themselves. Now, with selfie culture the women gaze upon themselves. And they curate what the viewer sees. Through make-up and editing. But there is one part of themselves that they cannot really see well. That is, thier own vagina from behind, except in a reflection. In this way, the women are depicted as through a voyeurs perspective.

The women depicted on the mural are taken from photos sourced through a popular website, where women from around the world pose nude showcasing their tattoos, piercings and manicured hair.

Initially, nineteen images were exhibited during the February 2011 performance of the Vagina Monologues in the live venue Vinyl Underground, in Busan, SK.* Next, the figures were removed from the background and integrated into a wall mural “as pieces of fruit on the vine” in March 2011.** This installation’s concept considered South Korea’s over-packaging culture which seemed to touch everything from the food to the women themselves and hinted at the overuse of cosmetic surgery and how that may have been a result of capitalism mixing with certain Eastern-based ideals. Following this exhibit, the women were integrated (sewn) into a more transportable felt mural. The mural was temporarily displayed in Toronto’s Gladstone Hotel during a live art battle event held during the Queen West Art Crawl, in September 2011.*** In early 2012 the mural was shown in an invited solo exhibition at Dazzle, a new live music venue and bar in Busan.**** Finally this piece was shown during a temporary group exhibition at Matahari Lofts in Montreal as part of the Art Battle event held there in April, 2017.*****


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Link to figurative objective research                  Pre-2018