​The Red Book originates from the artist’s encounter with Carl Gustav Jung’s The Red Book, which initiated an ongoing inquiry into the nature of color within artistic practice. This engagement prompted a reconsideration of the relationship between visual perception, symbolism, and psychological meaning, centering particularly on the color “red” — a hue charged with cultural, emotional, and symbolic intensity.

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By adopting the title The Red Book, the work pays homage to Jung’s text while simultaneously opening a continuous process of questioning: What is “red”? Why “red”? How is “red” perceived, experienced, and culturally constructed? Rather than seeking definitive conclusions, the series approaches “red” as a fluid and unstable phenomenon — at once a color, a symbol, a psychological state, and a site of projection.

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Within this framework, “red” extends beyond its visual presence to embody emotional resonance, corporeality, memory, desire, violence, and the unconscious. Through repetitive carving processes and layered applications of ink, the color accumulates, transforms, and destabilizes, generating a tension between material presence and psychological depth.

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Consequently, The Red Book is not merely an exploration of color itself, but a methodological practice grounded in inquiry and repetition. By persistently interrogating the condition of “red,” the artist seeks to uncover the perceptual mechanisms and cultural meanings embedded within color, expanding from personal reflection toward broader symbolic and psychological dimensions.

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In contrast to the artist’s object- and home-based series, The Red Book marks an internal and conceptual shift — moving away from the concrete and autobiographical toward a more abstract investigation of perception, symbolism, and meaning. Through this transition, the work opens a new dimension within the artist’s ongoing exploration of memory, consciousness, and visual experience.