Self-portrait (2023) explores my identity and cultural roots, and acts as a personal mirror that unveils the darker side of my unconscious mind. It is made to cultivate a sense of self-awareness, reflecting the effects of internal and external factors that have shaped who I am today. Certain symbolic motifs, such as the hanbok, jang-ot, and mugunghwa, are painted in as a way to represent my cultural identity and the emotional repercussions growing up in a conservative environment. As a result, this piece serves as a therapeutic journey in an attempt to freely express the deeper self through art.

The portrait is softly painted where I am searching for my own identity in a mysterious dreamlike setting. In order to emit the sense of delicacy between calmness and eeriness, I selected tones that are both dark and soft. The black background with green and pink hues is reminiscent of najeonchilgi, or Korean mother-of-pearl lacquerware. Since najeonchilgi has been a large part of my home environment, I found it appropriate to serve as the background of my self-portrait.

Majority of the art was made on a single layer excluding the flower and the circular ornamental shape in the background. Certain textures such as the lace fabric and gold ornament were overlaid onto the main layer to efficiently replicate a sense of materiality.