My works include many religious elements. But by "religious," I do not intend to limit myself to only one religion. Instead, I am searching for the spirit and truth which seem to be the common elements between art and religion. For example, I want each of my Door pieces to symbolize two opposing concepts simultaneously in the philosophical tradition of yin and yang (eum and yang in Korean)--connection and disconnection, traditional and modern, Korean religions and Christianity, and so on. For this series, I used the mokume kane technique to create grains of "wood" in the metal. This is not meant to represent wood or trees literally, but to refer to the essence of the material as a symbol of life, being, and eternity.
        My Shaman (Mudang in Korean) series is also meant to illustrate two opposite ideas. By using simple and modern (or Western) windows as the backgrounds while placing Shamans dressed in ceremonial costumes in the foregrounds, I tried to emphasize the conflict of religious thought and expression that exist between the two. I felt that the relatively soft enameling technique I used in these pieces would be best to capture the feeling of the colorful traditional dress and movement of Korean Shamans.
        I like subtle patterns, and I enjoy using textured metal created by such techniques as hammering, etching, and reticulation. In my more recent works, I have tried using simpler and more free and open lines and spaces to get away from the rather rigid feeling of my previous works. My Leaf series still relates to the theme of life and death, but I have tried to make those pieces not as serious, and even somewhat romantic and sentimental.
        I have come to realize that any artistic activity is really an endless challenge and, in the end, a beautiful and valuable endeavor in itself no matter what the final result.