Yeon Hwa Sung

"Connecting Memory and Time through Art”

1. A Temporal Bridge: The Ontology of the Line My artistic inquiry functions as a temporal bridge where the re-visitation of the past serves as a vessel for capturing the present. Within this framework, the "line" transcends its formal definition, acting as a somatic language that delineates the contours of identity, emotion, and the ephemeral traces of existence. Having studied calligraphy since the age of nine, I have long engaged with the brush as a medium for navigating affective fluctuations. Calligraphy is an art of absolute precision and ontological weight; it permits no revision. The suspension of breath, the artist’s physical equilibrium, and even the atmospheric density are all condensed into a single, irreversible stroke. This sense of irreversibility—the realization that no gesture can ever be repeated or retracted—is the fundamental ethos that governs my practice. I translate the traditional calligraphic stroke into a contemporary painterly language, manifesting the passage of time as a visual resonance.

2. Sensory Imprints: The Materiality of Affective Memory The genesis of my work lies in the sensory architecture of my childhood. Growing up in a Han ok (traditional Korean house), my consciousness was shaped by specific materialities: the tactile warmth of elevated wooden floors, the rhythmic cadence of rain falling from the eaves, and the olfactory memory of coffee—a scent synonymous with maternal tranquility. These are not mere nostalgic recollections; they are the affective bedrock of my current being. My work emerges at the intersection where fragmented memories meet contemporary longing. Rather than attempting a literal representation of the past, I seek to evoke its essence through the spatiality of "void" (emptiness) and the rhythmic breathing of the canvas. In this space, memory is idealized but also complicated by present desires, creating a complex web of peace and yearning. My practice is driven by a primal necessity to locate "warmth" within the coldness of the contemporary moment.

3. Performative Ritual and the Analogue Ethos My creative process is a performative ritual demanding absolute interiority. The moment I grasp the brush, I enter a state of total immersion where external stimuli recede, and the act of mark-making becomes a meditative conduit. Each line is an unhesitating condensation of breath, affect, and the specific temporality of that instant. This "one-stroke" methodology is rooted in embodied knowledge—a somatic memory ingrained since childhood—which remains the core kinetic energy of my contemporary practice. The sense of irreversibility learned through calligraphy has become the definitive standard of my work. A line, once drawn, cannot be revised; a gesture, once made, cannot be recaptured. Within this irreversibility, I focus entirely on the "now," transforming the lines on the canvas into more than just formal elements—they are the condensed residues of time and presence. This ethos drives my commitment to an analogue sensibility and the aesthetics of slowness. Rather than utilizing digital tools or reversible methods, I prioritize the haptic sensation of the hand and the raw materiality of the medium. This attitude is most explicitly manifested in the Flow series. In the Flow series, I singe the edges of thin Hwaseonji (Korean handmade paper) with incense, connecting the charred traces in a continuous sequence. Depending on the thickness of the paper, the velocity of the fire, and the movement of the air, the lines and colors evolve unpredictably. I continue the work by intuitively capturing these microscopic variations. Because a single moment of distraction can consume the entire surface, this process requires disciplined concentration and restrained breathing; the repetition itself becomes a form of ascetic discipline.

This methodology originates from the tension I experienced between the societal schedules imposed upon me and my own internal rhythm. The experience of immersing myself in the work while modulating the progression of fire became an act of listening to my own time and senses, rather than external tempos. Slowness, for me, is not an inefficiency but a vital precondition for sensory refinement. This analogue engagement reinforces an awareness of the "process" over the "result," extending the act of creation into a performative experience. In my recent work, I aim for a state where the relationship between line, void, and plane is harmonized through a single, continuous breath.

4. Three Pillars of Inquiry: The Series Currently, my practice is centered around three primary series: Tranquility, Flow, and Identity. Tranquility: This series is a visual synthesis of fragmented memories and contemporary longing. Through the calibrated relationship between line and void, I evoke a sense of stability and warmth, leaving an open spatiality where the viewer can project their own memories and affects.

Flow: This series serves as a sensory record of present time. Through the intersection of fire, paper, and repetitive focus, I suggest that all existence operates within its own unique velocity and cycle. In this context, "Flow" is not merely a formal motif but an ontological stance and a way of perceiving the world. Identity: This series seeks to visualize fleeting emotions through minimalist lines. By stripping away non-essential elements, I approach the essence of affect. Here, the line becomes the most direct manifestation of my essential presence. While these three series adopt an abstract vocabulary, their point of departure is always the sensitive and singular element of "emotion." I navigate subjective essence within minimalist restraint, seeking a profound connection with the "Other" through this distilled expression.

5. Artistic Ethos: Sincerity within Restraint Expressing the self through simplicity is an arduous endeavor. I believe that restraint exists within vulnerability, and sincerity is found within that restraint. I strive to maintain this state of tension throughout my practice. My enduring conviction is that art is a method of manifesting the human interior and a bridge for communicating that interiority with others.
Moving forward, I will continue to navigate the threshold between past and present, expressing the self through my most silent moments. It is my hope that my work serves as a medium that resonates with the individual memories and emotions of each viewer.