Namjoo WOO

* The Theme is 'Memories in my life-Hysteria'.

I want to speak with my own pictorial language about 'my reflections on my Hysteria'. I have always been very attached to objects from my childhood. For example, the jewellery of my grand-mother, my grand-father's clocks, my mother's clothes and her handbags, the vinyl records of my father, the dolls I used to sleep with etc... As time passed by, my interest became more and more an obsession. Perhaps because I had to change very often places in order to pursue my life path. To each person their own stories... By translating my hysteria into my paintings, I try to accomplish an alchemy where my obsessions become the most personal way to communicate with the world. My works are a kind of therapy to heal my Hysteria.

* Materials.

I mix a lot of materials that I collect in my daily life. All things are directly related to my memories.

About my works, The Theme is 'Memories in my life-Hysteria'. I want to speak with my own pictorial language about 'my reflections on my Hysteria'. I have always been very attached to objects from my childhood. For example, the jewellery of my grand-mother, my grand-father's clocks, my mother's clothes and her handbags, the vinyl records of my father, the dolls I used to sleep with etc... As time passed by, my interest became more and more an obsession. Perhaps because I had to change very often places in order to pursue my life path. To each person their own stories... By translating my hysteria into my works, I try to accomplish an alchemy where my obsessions become the most personal way to communicate with the world. My works are a kind of therapy to heal my Hysteria.

Usually we are deep in something, a gentle knock draws us to answer it by its lack of pretension-it cannot be much. We open the door to find a rather shabby figure, when a face like the shadow, but very benign.

There is a tent in a room she has rented. From the inside of the tent, made for protection one from mosquito bites, all of the outside world in a room is kept visible with slight distortion through countless tiny holes in the synthetic fabric of tent. Since she lives by herself and has no vistors 'Outside the world in a room' consists of objects belonging her and kept organizied by her own rules of survival and domestication.

Inside of the tent, her physical existence has been registered as a refugee from personal trauma. In other worlds, the tent itself has been used as a operation room to generate a certain language to deal with the relation between what is inside the room and what is outside of the room.

A series of lapses of concen





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