"In the paintings where it's there—the tenderness—I work for it. I'm not afraid of it. If I could put my bleeding heart in there, I would."
"When I was in New York, since the reality there was different, I was looking at bottari in a formalistic spatial and time dimension—more as sculpture, or as painting. But when I returned to Korea I saw it more as a kind of a loaded memory and history and frustration that also had time and space in it. So in a way bottari had an even broader and deeper meaning for me."