“An artist who sees her creative journey as a depiction of symbolic art in various form of display”
Jenny Han, originally from South Korea, engaged in a Fine Art studio for three years in South Korea. She studied fashion (Technology Women’s Wear) at the London College of Fashion afterward and now living in Belgium. Her passion for contemporary illustration art started at a very early age.
When she was a little, she loved cartoon based storybooks or animations such as Magic Knight Rayearth, The Rose of Versailles, and Glass Mask, which are a Japanese shōjo manga series written and illustrated by Clamp, Riyoko Ikeda, and Suzue Miuchi. The stories and the styles and their OST songs of those animations were her fond object for her life of entire teenage. The absolute enthusiasm for the images of fantasia intrigued her into her soul. And, this energy of herself created the foundation of the realm of seeing the world as a symbolic platform. She was able to capture the naiveness from her soul into the visual canvas that could be in any direction of transformations as an art format.
She also was fascinated by the psychology of human behaviors that caused by some specific obstacles to surmount when she was upbringing. For instance, during the time of developing her sophistication, she needed to devote time to her talents and interests to fulfill. Moreover, her interests scattered a million pieces over her activities with curiosity, such as fashion, abstract art, illustration, decorative art, psychology, science fiction, animation, electronic pop music, teaching, and the English language. There were some difficulties to choose her career path, targeting the right move that focused on the required qualifications back in the time of the 2000s. She still remembers there was no concrete image of careers she could go for in the name of Contemporary Visual Artist in South Korea during the time of her 20s. Only participating in some gallery projects in a fine art studio was her limit to make progress.
The time of educating herself via London College of Fashion was a unique and essential period in her journey. She earned a level of discipline to cultivate her well balanced and skillful self-managed individuality without a sense of culturally biased mentalities that effects her enormously on cross-boundary issues when it comes to deal with an act of conscious will into her vision. This period was the time of concreting her fragile feelings and emotions that transformed by clear images or words into completed feelings and thoughts. At this time, I turned already early-30s after graduating the college.
At present, she is so grateful and appreciative recently for gaining some connections with her fan base responses on Instagram account @jennyjiyounghan. It was amazing to gain an opportunity to get featured her artworks via @yngspc and @contemporaryartsclub recently. She has driven so hard to create genuine engagements as a contemporary artist so far. It is incredible to be able to feel the freedom to have an infinite-connect ability though an online gallery.
Her mind seems to appear in the symbolism of visual connections. She always sees the linkages between the abstract shapes of thinking and reality. Human life itself is a canvas with the form of abstract images that capture a series of powerful messages. Her abstract art is a type of expressionism of a life philosophy making public excitement which has lots of potentials to grow.
Currently, she is working on a new experiment with her artworks by using digital tools. Each of her works made as mixing the composition of illustrated digital figures with placing her original prints design. Her pleasure represents through the package of her life stories, revealed to a form of visual art transforming by manipulating digital devices. She can handle either way of both digitally created version and handed painting version to supply as a form of art medium in communication. Both versions can convert one method from the other by her skillful ability. However, she has chosen the communication way by digital creations. She loves to challenge the structure of techno-skepticism in the abstract art platform because her life was full of challenges for getting to know the unknown she never expected to fit in.
What age have you started making art and what motivated you to keep going?
Jenny: Actually, I don’t even remember when was the actual starting point to get motivated me, making art. I was a pretty much shy and different kid as I remember. I lived inside my heart and got enthusiasm inside my world so people could see me like a mature kid or mysterious one in some degree. I was pretty talented in drawing and painting during the time of my upbringing by parents. I loved to show daily sketches drawn by me to my parents, especially my mother. I loved seeing my mother’s smiley face on my drawings and was proud to see hanging the drawings day by day on the fridge’s front door. Let’s say that was the time being to start getting eager to see my future creating art to make my parents and me happy. Parents were the fundamental source of my curiosity to be more energetic that was intrigued me to continue and spread my creative wings for my entire life.
What is the most challenging being a contemporary illustration art?
Jenny: Honestly saying that I asked so many questions about what is the big deal about contemporary art in the illustration forms itself. It means a lot to me from back in my mind during the time of identity-growth. Questioning established forms is the main difficulty to be done that always happens to all artists. The uncanny ability to access to artists multidisciplinary with fresh ideas can produce enough to a public excitement that supports in today’s contemporary art format. But, pushing some meaningful messages behind the new ways of workings should always offer audiences. This sort of genuine engagement is the most challenging for me from my entire creative journey.
What about your style? How would you describe your visual style, and what was the process like, finding your voice as an artist?
Jenny: When I was a little, I used to get fascinated by cartoon based storybooks and Japanese animations with those of OST they produced. I am still listing the OST to feel me in the back of the time I was in fantasy lands. The colors of each sense were intrigued enough by my esthetic views into my mind and captured the beauty of them on my sketchbooks. So, the early style was pretty much on the base of cartoons or Japanese animations. It was more like copping the frame of original illustration works by adding some images of sparkling ideas.
In my 20s, I tried to manipulate a more critical approach to transfer it into visual images that presented as a depiction of my feelings and emotions. There was a mood of sadness and deep depression translated into my paintings. It was more like the shape of the emotional collage mixing with conceptual language formation and esthetically well-planned compositions.
During the time of my higher educational years in the UK, I choose fashion design as a field of specialization. The technique I preferred to use was like a patchwork of each pattern piece on the completed garment. Each pattern piece has each reason to place in the particular position of the garment.
As the above-chosen creative directions, the effect on the very current piece of art reveals as a mixture of all sources I previously presented and practiced. There has an abstract shape of the mood on the artwork with digitally patchworked by the created prints works, describing the sensibility of my chosen world of view or the poetic language with conceptual ideas. My life is my inspiration and a fond material to catch up on unconscious meanings behind the content of its journey.
Has your art changed in any way since moving to Europe? And if yes, how?
Jenny: Yes, I was pretty much sceptical about digital art, and I preferred to produce a handed painting during my 20s. A medium, consisting of liquid powder, had more attachment with me to make a friendly brushstroke. But, since moving from the UK to Belgium recently, I strongly felt that I had to have some sources of connection between the periods of different self. I thought if I tell people the image of myself within on the one piece of art, I should have the differences in matching expression with the consequences I have changed. So, using digital tools to create my artwork is the turning point of my new move as an artist.
How long does it take for you to finish one art piece, approximately? And how many hours per week do you draw on average?
Jenny: It is quite hard to tell me about how long it takes to finish one art piece approximately because I am even drawing within my imaginations during my awaken time. I only translate the finished art piece in my head into the drawing board. It seems like I already made up my mind how to complete the work by me visually. So, this constant engagement with my artworks sophisticates my delivery for visual expression.
You are also interested in the psychology of human behaviours. Tell me more about that. And how do you translate it into an artwork?
Jenny: There were the times I suffered from severe depression with sight distortion for many years. It came to me more seriously when I was studying in the UK. I agree the fact that it was a precious time for me to make myself discipline in a particular way. But, I had to compromise tremendous stress in my life path with the awful conditions: dealing with harsh rejections to make a concrete style with strong aesthetic, feeling burdened about all the contemporaries have got more progressed rather than me ,and dealing with the unhealthy relationships.
I believed the delightful atmosphere establishes a positive effect on the process of creativity. So, I started studying myself deep down to ask myself who I am, why I am here for, and what is the consequences to face the circumstances I don’t like to be. It is a delightful process to capture the answers to the visual images that translate into an artwork. Each piece encapsulates one element after another element separately: the abstract shape of mood itself, the content of narrative stories, conceptual meanings, and personal styles. It is like the expression of a condensed mixture as one art piece.
I find that having an artist to admire has a positive effect on developing your art skills! Who are your top favourite artists?
Jenny: I have searched for several artists to keep to the path of self-research to develop my initial ideas in my head. Jean Fautrier is one of my top quality information among my chosen artists for a long time. He was a French painter, illustrator, printmaker, and sculptor. He saw human bodies as a displayed object, and he put impact messages added in the title of an artwork. His series of “Hostage” is the most intriguing piece of art for me, and especially the title in that name “Hostage” gave me another goosebump in the feel of satisfying.
If we don’t see dog meat as an object of eating material, we can’t consider eating when a dog is sitting beside you with wagging a tail, besides you can’t say “I want to eat it.” I thought that he probably had several harsh and detestable experiences with death or war-based historical traumas he couldn’t overcome. Yes, my guess was right. He described the pilled-up dead bodies or wounded bodies in the human tragedies caused by World War II and expressed the tragic bodies as hostages. He saw the bodies as an object itself, not as an alive creature.
I like the way he sees the already existing meanings in the different angles of the generalizing concept. That makes his artworks so unique. I have adopted his way of seeing from reality and translate it into an actual visual art format. But, there are several differences him and me from the specialized valuing of their skills. He captured the specific forms of realistic features and translated them with abstract figured. But, I created the subjective conceptual meanings, manipulated with a new image which is from the made-up depiction of my imagination.
What is your biggest dream for your art career?
Jenny: I wish to say that I have been chasing the most suitable position of my art career for finding the most authentic self rather than I have planned for the biggest dream of the targeted goal. I have never dreamt of the model of future position or admired person I wanted to be. I was the most challenging human being because I had the most difficult characteristic obstacles for adapting the circumstances to fit in the categories-based fields.
Hatred, resentment, and sadness were the base source of my energy to conquer the self-abhorrence. At the same time, I had a brightness and warmness to see the world for settling my life journey meaningfully. I loved myself more than I thought I gave myself love enough.
So, all I want through my art is to make a clear foundation of this complexity of mine. Creating a shapeshifting spectrum of possibilities through the communication of mine should be ongoing and non-stopped procedures for my happiness.
What memorable responses have you had to your work?
Jenny: Recently, I entered the open call competition hosted by @contemporaryartsclub and earned as the last group of honourable ten members out of 40 selected artists on the date of 3th, August. I was pretty much thrilled by the moment of that online announcement. Moreover, I have got my other artwork: “Release My Inner Self” featured by the online gallery @yngspac. I feel they just loved it for the very first sight and tagged me for Instagram page featured. I was very delightful and thankful for all the happenings in this year, and I hope this year brings me possible progress with I can stick to more confidence in me.
What is the best way to reach people that are interested in your art?
Jenny:One thing, I am so grateful and appreciative recently with lots of positive responses by people who love my art on Instagram. Actually, after graduating the fashion college in the Uk, there was the time with haziness for the following approaches I felt that it would suit me. Even though I put my 100%efforts to be committed to the fashion study, fashion was so close enough to integrate with commerciality rather than the art itself. The whole education system was the process of understanding of creativity in the context of arts using fashion as a system of the product. But, in the market, it was way different than thinking as a piece of art in terms of satisfying the selling point.
In the middle of all these matters with the processes of the creative journey, I just realized that there was the time which I loved the canvas work with beautiful brushstrokes, and of course, I remembered I used all different media, being able to apply. So, I started uploading my recent artworks on my Instagram account, and I have seen positive possibilities by getting my art featured via @yngspc and @contemporaryartsclub. It is incredible to be able to feel the freedom of an infinite-connect ability through their online galleries. I think making a connection in using Instagram is the best way to access people speedfully and meaningfully.
What’s next on the horizon?
Jenny:I have contacted several online platforms to open a space for advertising and selling the artworks as an emerging artist or an early-career artist. There were a couple of available platforms based in the UK or United States. Some contacted me at first in delightful and welcoming comments, besides they generously emailed me with the whole business instructions step by step. But, not always concluding nicely with a business transaction or giving their continuous respects for finalizing the steps they have given to one of their clients for making their yearly profits.
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