Hello Hwaran, trying to understand your body of work and media, I would love to know what does art mean to you?

Art is a journey of self-completion, an ongoing cycle of emptying and refilling myself. Just as I breathe out stale air and welcome in freshness, I let go of my past self to move forward.

Emptying is not simply erasing traces; it is a process of recording and weaving together fragments of the past to form a complete self. This process gives me the strength to move forward. Ultimately, the journey of creating my work is what gives meaning to my life.

What medium do you use, and why?

Until now, I have mainly used traditional Korean paper, Hanji. Made from the fibers of the Dak tree (Broussonetia kazinoki), which grows in the land where I was born and raised. On Hanji, I use traditional Eastern pigments: for instance, ink for black, gold and silver leaf from Japan, and natural glue to connect fragments of Hanji, creating layered works with unique textures. Using these traditional materials has been a journey of self-discovery, a way of reconnecting with the natural materials that share the same roots as me.

I chose materials closely tied to my experiences when I started working. The present self will soon become part of the past, and I aim to record what I felt during that time—not through lengthy explanations but through symbolic materials. In this new work, I am blending Western and Eastern materials to document my life in Leipzig.

How did you find these materials for you? Are you producing the Eastern Pigments  yourself? 

I first encountered traditional Eastern materials during my university years. In my Oriental painting major, I learned to explore and apply the materials and techniques that have been used in Eastern art for centuries. While the trend today often leans towards mixing traditional Eastern methods with Western materials and modern approaches, the curriculum at my school emphasized a deep appreciation for the historical value and significance of these ancient traditions. Through this, I was able to grasp the profound power and symbolism embedded in traditional materials.

Among the Eastern materials I use, I work with traditional Korean Hanji paper, crafted by skilled artisans in Korea. The warm texture of Hanji reflects the spirit of Korean culture and adds a distinct depth to my work. For ink, I personally visited the historic brand Komei-en(古梅園) in Nara, Japan, to purchase it. This ink holds a special meaning, imbued with time and the spirit of Japanese craftsmanship. Additionally, I use natural adhesives, gold leaf, and silver leaf sourced from Japan and China. Each country’s artisans bring out unique qualities in these materials, and I find the process of discovering and researching materials that bridge these diverse cultures invaluable. Through these materials, my work explores new possibilities at the intersection of East and West.

You are working often large scale or in series, why?

Each experience I encounter feels fresh and new, and I found that expressing myself solely through the same materials and patterns was limiting. I wanted to capture the essence of myself through key points and convey my thoughts in a more structured way by assigning different titles within a series. It’s like planting various seeds in a garden, nurturing each to grow harmoniously. I imagine that in a decade, these series will stand together as plants in a garden, each growing in its place, naturally intertwined and thriving.

How would you say you have evolved your work ?

My work is currently in the early stages of forming a vocabulary for what I wish to express. Over time, these fragments will connect to create a more defined perspective, and when that happens, the true color of my work will emerge. I see myself at the beginning of a process where I faithfully empty, record through art, and create space for new things to be fully embraced. When I look back on where it all started, I feel that art has been within me since a very young age.

I still have this adorable little certificate from my kindergarten graduation when I was five, titled “Future Great Artist.” Isn’t that cute? Since then, creating through drawing and making things has been a constant in my life, bringing me immense joy. Even as a child, I found it far more natural to express myself through art rather than words. To this day, my truest self emerges in my artwork. Art feels like a quiet dialogue I have with the world, a way to connect and better understand myself. This journey has nurtured my growth so far, and I believe it will continue to be the most comfortable and familiar path of self-discovery that I could follow.

Where do you envision your work to grow? 

Envisioning the foggy future a bit more clearly, I would like to create a space where a wide range of materials and dimensions come together—breaking away from past constraints. I want this to be a place where the things I have let go of finally form a whole, a space that reflects my growth and evolution. I aspire to express the diverse experiences of my life through various materials, transcending the boundaries of East and West. Observing the unique properties of each material brings me great joy.

Of course, a single material can offer endless possibilities, but I find deep satisfaction in discovering and combining the strengths of different materials to convey the essence of what I want to express. This process feels like savoring and digesting each of my life experiences, piece by piece. Working with multiple materials feels as if different cultures and traditions are engaging in a conversation within a single work. Just as a balanced diet nurtures a healthy body, I hope that my work, enriched by diverse materials, can grow into a living entity with a rich and expressive language of its own. I wish for my artwork to convey a deeper story through the voices of these varied materials.

interview held by Julianne Csapo

Portrait picture by Alexandra Ivanciu

See and learn more about Hwaran Cho’s work on her website.

Meet her during our Open studio event & future conference @pilotenkueche on the 23. November 2024

or at the final Show of Round 61:  Hidden Portrait – 14.December 2024 @Ars Avanti, Giesserstrasse 75, 04229 Leipzig.