Veiled Ophelia in The Forest of Ulysses



There are four codes to my artworks. The first code is mythology, the second code is psychology, the third code is psychoanalysis, and the fourth code is post-modernism.

Dionysos, Artemis, Oedipus, Pan, and Satyros are the mythological characters who usually appear in my work. I recently added Themis to my work including Gaea, Psyche and Ophelia. These characters are put in my paintings and they have special meanings of their own. For example, Dionysos is a concept of comparison about Apollo that comes from Nietzsche, Pan and Satyros, and Sphinx comes from the concept of hybrid, and Ophelia comes from Lacan's concept of the phallus related to Freud's Oedipus complex. The main character Hunter, especially from the video 'Macguffin Desire' is the motif from Artemis. (I recommend that you search for Macguffin Desire on YouTube.) Hunter from Artemis is connected to the webs from Macguffin and the structuralism in linguistics. 

The second code is psychology. I am deeply interested in French post-structuralism. From the starting point of Deleuze's philosophy, I prefer philosophers such as, Jacques Derrida, Michel Foucault, Roland Barthes, Julia Kristeva, Slavoj Zizek, Jacques Lacan, Baruch Spinoza, Gottfried Wilhelm Leibniz, Arthur Schopenhaver, Friedrich Nietzsche, Henri-Louis Bergson, and Giordano Bruno. Walter Benjamin, Karl Marx, Fredric Jameson, Martin Heidegger, Edmund Husserl, Merleau-Ponty's Phenomenology, and even the philosophers of existentialism are all included in my main field of interest. It's the outcome that comes from the process of pushing beyond the struggle as I express and debate over my artworks as they expand into my social identity; they emerge from my interest in the meaning of self identity and existence in my early 20's.

The third code is psychoanalysis. The episodes of Hamlet and Ophelia especially play an important part in my subject matter. Past Sigmund Freud's 'Oedipus Complex' which was my primary concern in my 20's, Jacque Lacan's concept of the phallus, Didier Anzieu's concept of the container from the skin-ego, Julia Kristeva's idea of the chora, abjection, the subject in process and the speaking subject, Kristeva's notion of ambivalence along with Mikhail Bakhtine's carnivalesque are the calling of my fate. I am now in my mid-50's and I can not leave any of them out for I believe they are my destiny. These concepts are related to Homi K. Bhabha, Edward W. Said, Frantz Fanon, and hybrid expression on the basis of orientalism and Gayatri Spivak's concept of 'subaltern' in composition of their work.


Last is postmodernism. I often enjoy using the arrangements that come from Alfred Hitchcock's plot device called the 'MacGuffin.' They are used as main strategies in postmodernism: daily life, pathos, second rated sentiments and uncanny subject matters. In truth, high density is a technique used in modern artistic expression that is veiled in the background of my works. It is a sensory logic which I render as a zero friction factor that shows grandeur and unshapely touches in brushstrokes. You can continue to peel the layers of an onion until they disappear, but an onion will always remain as an onion.

After passing through these four codes, four more terms reveal themselves in a form of the noema: Veiled, Rhizome, Ophelia and Ulysses.

The word 'veiled' I use in my work is an important concept that appears in my work and is related to the 'veiled' mentioned by Jacques Derrida and 'veil' that comes from Hélène Cixous. That 'veil' is also connect to the keen senses of the blind swordsman from the film Zatoichi and Arya Stark's fight in the darkness from the episode of Game of Thrones. Hélène Cixous suffered from severe myopia and she had to rely on her senses to write. She had Lasik eye surgery, and she was able to lift the veil and see the shapes of all the objects very clearly. Although it seems paradoxical, due to the clear exterior appearances of objects and rational judgments, she was no longer able to pursue her writing. She missed her keen senses which she had experienced when she was suffering from a visual impairment. Jacques Derrida and Hélène Cixous were able to state the concept of 'veiled' due to their circumstances. It is also connected to the narration of Susan Sontag's Against Interpretation. In Matthew Barney's Drawing Restrain, there is a burst of tremendous eruption that comes from the development of form which occurs through resistance of physical body and its tensions.

The term rhizome is about botany, nomad, schizophrenia, and they are entangled in the red tree of my paintings. They are tales about potential, the womb and possibilities. The whole thing is too obvious, and so I am going to save my breath and not utter a word.

Last is the forest of Ulysses. The adventures of Ulysses continue for many years. The adventures of Hercules, Sisyphus and his rock, and the hardships that Psyche face are used in a similar way. James Joyce uses complex and diverse writing styles. The painting 'The Forest of the Ulysses' uses techniques and compositions that are mixed with abstruse images from the thick lush jungle in a virgin forest, and various painting techniques are added once again to the painting. The surface is all tangled up with fast brushstrokes and abstraction. If you wish to enter my world, I suggest that you take a closer look at the composition of the painting. You will find the path into the painting as you carefully go through the cunning composition of my work as if you are peeling the layers of an onion. The moment you feel someone's gaze, you fall into the trap of the MacGuffin, and the artist as well as the spectators can no longer escape from the forest.↗