KBS Comfort Zone | Finding Life’s Wisdom Through the Classic Zhuangzi

"Since hanbok appears so often in my work, I felt that understanding hanbok more deeply would let me express so much more — that's why I wear hanbok often even in everyday life."

Asked whether hanbok was comfortable, the artist replied, "At first, it was actually one of the most uncomfortable garments I'd worn, but the more I wore it, the more comfortable and beautiful it felt — even more so than everyday clothes."

When the conversation turned to Zhuangzi's pursuit of an unhurried life free from desire for rank or wealth, the artist said, "As someone who grinds ink and works almost like meditating while painting Korean art, people who are outwardly at ease like that seem incredibly appealing to me. I think I'm drawn to people who are at ease not just outwardly, but at heart."

After being introduced to the Joseon-era painting *Tangeumdo* (a scholar playing a stringless geomungo), the artist agreed that what Korean painting pursues resembles John Cage's silent composition *4'33"*, adding, "In Korean painting too, we value the spirit that comes from the heart more than mere technical skill. I think of 'the beauty of empty space' as space that appears empty but is actually full of meaning. I don't know much about philosophy, but in the end, I think it all connects back to art as well."

Asked for her thoughts after hearing Zhuangzi's parable — of the magpie stalking the mantis, the mantis stalking the cicada, each so focused on their prey that they failed to notice the danger closing in on themselves — the artist said, "Before this, whenever I thought of Laozi and Zhuangzi, I only pictured the image of immortal sages, but hearing this today, I feel he offered so much about having an open mind and communicating ahead of his time. I learned a great deal, and I think that's precisely why, even after more than 2,300 years, his stories are still being quoted and talked about today."