I begin with a sheet of hand-made Korean mulberry paper called Hanji. I soak the paper in water, a life-giving and adverse agent for papers in its perpetuating cycle. I intently handle this laundry-like process, continuing with additional layers, soaking, squeezing, kneading, pounding sheets together until a new substrate with a new temperament is built. Through this process of continuous stress and agitation, once delicate fibers interlock and reestablish themselves into a thicker, resilient membrane - leather-like, porous, and luminous. I am always moved by this renewal gained from my time and labor.
For most paper casting projects, I am interested in taking forms from objects that carry physical and socio-cultural solidity.
I excavate layers of meaning as I explore cultural interpretation, context, and personal memories around the object. I delineate the embedded social norms and re-frame what each element symbolizes. The method of casting involves reconstructing psychological space first, then draping a felted substrate over the subject, feeling the forms with my fingertips, then brushing and stippling over specific detail. This process creates bas-relief or three-dimensional frottage, similar to an impression achieved by rubbing a monument, like a gravestone. These works often have an archaeological quality as viewers can re-imagine meanings
to viewers' context, beyond the art(ifact).