Women Who Weep
There was a time when I watched many old Korean movies, and I was curious about the way women cry in movies. When they do they are either close to the ground or a surface that they press or rub with their hands. Why do they do this?
40 pages, 120 x 180 mm, soft cover, 2025
Women Who Smoke
When I was in my 20s in Korea, for women smoking was something simultaneously secretive and proud, as well as being some undefined joy.
The women in Women Who Smoke do not have glamorous jobs or smart outfits, but the moment of their smoking still looks glamorous, and sometimes even religious. Did the film director Aki Kaurismaki intend this?
The form of white smoke coming out of a mouth can also be something like magic. However, it should be noted that cigarettes, emitting smoke, resemble the capitalist factory’s own mouth.
40 pages, 120 x 180 mm, soft cover, 2025
Women Who Scream
‘Call the Midwife’ is one of the very first English dramas that I watched in the UK. I remember how I enjoyed it so much, day after day, that I even felt guilt of some sort. And that feeling I couldn’t understand. So I started to draw, without any purpose, a series of quite raw images. I was deeply moved by the repetition of most women’s hard labours.
40 pages, 130 x 190 mm, soft cover, 2025
So Far no Sofa
I love the visual aspects of the various sofa objects that I had seen in many shops. And my long term hesitation, regarding whether I should buy one or not, gladly ended when the title of this book came into my mind, revealing that I no longer need to have a sofa. Instead I made this little book.
All the stories are based on what happened in the following month, whether in real life or ‘real’ in my mind.
40 pages, 140 x 165 mm, soft cover, 2023
Cash or Smash
This is an outcome of the unsettling time of my final days of having my last studio. I had been given ‘notice to leave’, along with hundreds of artists in the same building. Many of us were unable to afford a new studio and we often bumped into each other in the back yard of the building where many skips were quickly filled.
But one weekend, I took one of my old works into a gallery, and borrowed the audience’s hands to make decisions about its value.
I had hundreds of participants.
