Post production 1.
What made you to create this piece?
“Now faith is confidence in what we hope for and assurance about
what we do not see.” —Hebrews 11:1
To explain how my research topic originated, I must reflect on my life's journey and its evolution. My exploration into the intricate relationship between faith, art, and love began as a deeply personal inquiry, shaped by my experiences as both an artist and a believer. When asked about my earliest memory, I often respond, “I remember asking my mother to buy me a violin.” Though I was only two years old, that moment stands out vividly, marking the beginning of my artistic path—a journey defined by exploration, perseverance, and a growing understanding of love.
By age four, I was already singing and exploring various forms of artistic expression, including dance, traditional South Korean music, and drawing. Each of these activities served as a vessel for communicating my emotions and experiences, nurturing a sense of identity that has accompanied me throughout my life. Eventually, I returned to the violin, the instrument that ignited my passion for music in my early years. However, while studying at an arts-focused middle school, I faced an unexpected setback. An injury forced me to give up the violin as my principal instrument—a heart-wrenching decision that threatened to derail my aspirations.
During this challenging time, I discovered the viola, an instrument that would redefine my musical journey. The transition from violin to viola was not merely a change in instruments; it marked a transformative moment that reshaped my understanding of music and its significance in my life. This new chapter led me to the UK, where I pursued a Bachelor's degree and a Postgraduate Diploma in music at the Royal College of Music. The diverse cultural landscape of London provided myriad opportunities for growth as both an artist and an individual. Now, as I near the completion of my second Master’s degree in Drama at Rose Bruford College, I reflect on the complex interplay between my experiences, my faith, and my art, particularly in terms of the platonic love that can exist between an artist and their craft.
Like many artists, my journey has been punctuated by triumphs and hardships. These experiences often prompted me to contemplate love—not just the romantic variety, but a deeper, platonic love that exists in the relationship between the artist and their art. Human relationships, however, became a constant source of anxiety and heartache for me. In the competitive realm of the arts, especially during middle school, I struggled to form genuine, authentic connections with others. The pressure to excel often overshadowed the fundamental human need for connection, leaving me feeling isolated and misunderstood.
Rooted deeply in my Christian faith, I turned to prayer, seeking guidance and understanding. I asked God what it truly meant to experience and share His love. In church, we are encouraged to pray for God’s love and to share it with others, yet my experiences with people often contradicted the divine love I sought. Ironically, many who caused me the most pain were Christians—individuals who publicly portrayed love and kindness while grappling with their own struggles. This stark contrast deepened my internal conflict and made me question what it truly means to live as a Christian in a world that often feels distant from divine love.
“And now these three remain: faith, hope, and love. But the greatest of these is love.” —1 Corinthians 13:13
As my artistic journey continued, I noticed that my relationship with my instruments deepened. I began giving them names and viewed them as more than mere tools for making music. They became companions, fulfilling roles that extended beyond the professional; my instruments transformed into close friends and confidants. This anthropomorphism signified a deeper connection that transcended the typical musician-instrument dynamic; it manifested love in its purest, platonic form. I also started referring to my body and voice as “baby,” acknowledging their integral roles in my creative process and identity. This affectionate language represented a profound recognition of the vulnerability and strength inherent in my artistic expression.
Through this evolving relationship, I discovered the presence of spirit and soul within my art. The unconditional love I had been seeking—the love described in the Bible—was already present in my connection with my artistic practice. This love was not an abstract ideal but a living force permeating my work and my relationship with my creative self.
This realization marked a pivotal turning point in my life, transforming how I viewed my art. I began to see it as a form of prayer—a means to connect with God and express the depth of my feelings and experiences. Music and drama became sacred spaces where I could explore the complexities of love, faith, and human connection. When I shared these insights with others, many struggled to grasp the depth of this connection. As a Christian who believes in celibacy before marriage, I came to define my bond with my art as a form of platonic love—one that nourishes and fulfills me in unexpected ways. For me, this love is sufficient.
Curiosity about other artists grew within me. I began to wonder if they too felt a profound love for their art. Did they experience similar moments of connection and fulfillment? What was their journey in discovering this love? These questions laid the foundation for my research into the platonic love that exists between artists and their creative worlds. I sought to understand how this love nurtures creativity and fosters a sense of belonging in the artistic realm.
In my exploration, I encountered diverse perspectives from artists across various disciplines. Many described their creative processes as deeply spiritual experiences, where the act of creation transcended mere technical skill. They portrayed moments of inspiration as divine encounters, akin to receiving messages from a higher power. This shared understanding reaffirmed my belief that love—whether for a person, a craft, or an idea—manifests in myriad forms and is an essential aspect of the human experience.
This work emerges from that exploration, inquiring into the deep and often misunderstood relationship between the artist and their art. It challenges the notion that love must always be romantic or physical, advocating for a broader understanding of love as a nurturing force present in platonic relationships. My journey through faith, art, and love has taught me that the connections we forge—whether with our instruments, our bodies, or the art itself—can be profoundly fulfilling and transformative.
Through the lens of platonic love, I have come to appreciate how my artistic journey has shaped my understanding of music and drama while leading me to a more nuanced perspective on love. The interplay of faith, art, and love serves as a guiding force in my life, inspiring me to seek connections that nourish my soul and enrich my creative practice. As I continue to explore these themes, I remain dedicated to uncovering the beauty and complexity of the platonic love between the artist and the artistic world.
Post production 2.
Methods
Intro
In much of the academic literature I encountered during my research, the concept of "artistic identity" is frequently emphasized as a focal point of analysis. While the significance of artistic identity is undeniable, it was not the central focus of my inquiry. Instead, I aimed to delve deeper into the personal, emotional, and relational dimensions of an artist’s connection to their craft—a connection often marked by an intimate, evolving dialogue between the artist and their unique "artistic world." The purpose of this study was to explore these personal worlds, their origins, and the dynamic relationships artists form with their work. In doing so, I sought to uncover the interplay between identity and the subjective spaces where creative practices unfold.
My methodology centered around interviews with professional artists, as I believed that firsthand testimonies would offer richer and more nuanced insights into the personal aspects of art-making. The artists’ personal narratives became crucial to understanding how they relate to their artistic worlds. By conducting in-depth interviews, I aimed to move beyond an abstract notion of identity, positioning the "artistic world" as a lived, evolving space shaped by the artist’s emotional, spiritual, and relational engagements.
*Artistic Identity vs. Artistic World
In the context of my research, the distinction between "artistic identity" and the "artistic world" is key to understanding how artists navigate their creative lives. Artistic identity pertains to the self-concept that an artist constructs through their skills, achievements, and personal history within their chosen discipline. It is a product of their formal education, personal background, cultural influences, and public recognition. Artistic identity answers questions like: Who am I as an artist? What are my capabilities? How do others perceive me in the world of art?
However, the "artistic world" is more abstract and subjective. It is the internal landscape where creativity unfolds—a realm where the artist’s beliefs, experiences, emotions, and spiritual reflections converge. This world evolves over time, shaped by both internal processes and external circumstances. Each artist’s artistic world is unique, filled with their memories, struggles, joys, and a profound sense of purpose. My interviews aimed to uncover these personal realms, which are often ineffable yet profoundly influential in shaping the artist’s creative output.
In approaching this research, it was essential to begin each interview with the understanding that the relationship between the artist and their artistic world is subjective, deeply personal, and cannot be generalized across different creative practices. To create a space for artists to reflect on this relationship, I structured the interviews around four distinct chapters: "Artist," "Memories," "We Grow, We Stay Alive Together," and "Love Wins All." This format was carefully designed to foster a safe and open environment for the interviewees, which I deemed essential for eliciting authentic and meaningful narratives. It was crucial that each artist felt comfortable and free to share their stories without any pressure or expectations, allowing for a deeper exploration of their artistic worlds. These chapters not only guided the interviews but also provided the thematic framework for analyzing the personal insights shared by the artists.
Chapter 1: ARTIST
Chapter 2: MEMORIES
Chapter 3: We grow, we stay alive together
Chapter 4: Love wins all
Chapter 1: ARTIST
The initial interview questions in Chapter 1: "ARTIST" serve as a gateway for participants to introduce themselves and reflect on their identities as artists. The questions posed were as follows:
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Could you please introduce yourself? (Name, age, artistic talents, short bio)
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What are the essential tools for your artistic world?
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How would you describe your artistic world in two words? And why?
The goal of Chapter 1 was to create an icebreaker moment that would allow the artists to open up about their experiences and backgrounds. While "artistic identity" is a prevalent theme in academic literature, I opted to briefly address it in this chapter before shifting the focus to the relational aspects of their artistic practice in the following sections. The first question prompts the artists to introduce themselves, subtly touching upon the concept of artistic identity. The subsequent questions ease the conversation into a discussion of their artistic world, beginning with practical tools and gradually transitioning to more abstract and emotional concepts.
In my research, the notion of "artistic identity" pertains to self-establishment—it encompasses the various skills, experiences, and artistic abilities that contribute to an artist's sense of self. Conversely, the "artistic world" refers to the unique and creative realm shaped by those abilities. For instance, Youngseo (Jonathan) Moon highlighted the idea that the stronger an artist’s belief in their artistic world, the more it manifests as an intangible presence, embodying both soul and spirit. This artistic world is a deeply personal space that transcends simple definitions and is often challenging to articulate.
Chapter 2: MEMORIES
Transitioning into Chapter 2: "MEMORIES," the focus shifts toward the origins of the artists' creative worlds and their formative experiences. The questions designed for this chapter include:
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How did your artistic world begin? (When and how?)
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Could you share any moments when you felt emotionally happy in relation to your artistic world?
By encouraging artists to recall moments of happiness, I aimed to explore the profound impact art has had on their lives and the power it wields as a medium of expression. These reflections reveal that art is not merely a form of creative output; it carries significant meaning and personal resonance.
The artists’ narratives in this chapter often illuminated the pivotal moments that contributed to the formation of their artistic worlds. By exploring their earliest experiences, I sought to uncover the layers of meaning embedded within their artistic identities, emphasizing how personal histories shape their creative practices.
Chapter 3: We Grow, We Stay Alive Together
Chapter 3, titled "We Grow, We Stay Alive Together," builds upon the reflections shared in the previous chapter, delving into the challenges and struggles that artists encounter in their creative journeys. The guiding questions for this chapter were as follows:
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Have you faced challenges in your life? (Either as an artist or in general) If not, proceed directly to the next question.
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How did you move forward? How did your artistic world respond to your life’s challenges?
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At that time, how did you feel about your relationship with your artistic world?
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How does your artistic world communicate with you during creative activities (performance, composition, dance, etc.)?
This chapter emphasizes the relational dynamics between the artist and their artistic world, exploring how personal challenges influence the creative process. The questions were deliberately crafted to encourage deeper conversations, enabling artists to articulate how they maintain their relationships with their artistic worlds during difficult times.
By investigating the conflicts and struggles faced by the artists, I aimed to highlight the resilience and adaptability that emerge from their artistic relationships. The final question regarding communication invites artists to reflect on the dialogue that occurs during their creative activities, shedding light on the ways their artistic worlds manifest and evolve in response to their emotional states.
Chapter 4: Love Wins All
The concluding chapter, "Love Wins All," stands out as the only section in which I explicitly incorporate the concept of love into the questions posed. This chapter offers artists the opportunity to explore the emotional depth of their relationships with their artistic worlds. The questions posed include:
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If you were born again, would you choose to live in your artistic world once more?
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Do you believe there is love between you and your artistic world?
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If so, how does this love differ from the love you experience with other humans?
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How would you describe the love between you and your artistic world in one word?
For this particular section, it was very important to ensure that interviewees felt no pressure while answering. This approach fostered a wide variety of answers, reflecting the diverse experiences of the artists. By addressing the theme of love, I aimed to underscore the emotional connection artists feel toward their craft, illuminating the transformative power of art in their lives.
Selection of Interviewees
Following the formulation of the interview questions, the next step involved selecting artists to interview. I decided to focus on young professionals close to my own age, as I believed they would share a similar understanding of the contemporary artistic landscape. I was particularly curious to investigate how these young artists have developed and maintained their artistic worlds and what kinds of relationships they feel with those worlds.
The first artist I interviewed was Nien Chin Chai, a composer and fellow student from the Royal College of Music. Nien transitioned from studying piano to composition after facing medical challenges. Her work is characterized by a unique blend of Eastern and Western musical elements, reflecting the diversity of her artistic influences and experiences.
The second interviewee was Youngseo (Jonathan) Moon, a jazz pianist and composer who graduated from Goldsmiths College and is currently pursuing an MA in Composition at Trinity Laban. He is an active session pianist in both London and Korea, traversing genres such as jazz, pop, and classical music. Youngseo also composed the original soundtrack for the performance of Chapter 3: "We Grow, We Stay Alive Together." Our collaborative history as musical partners has enriched my understanding of his artistic world and its development.
The third artist, Quincey Kawahara, is a dancer I recently met through a residency program. Quincey has collaborated with director-choreographer Benjamin Jonsson on the short dance film "HERD (Mentality)," which is currently featured on Nowness. Her insights into the physicality and emotionality of dance have been instrumental in shaping our conversations about artistic identity.
Lastly, I chose to include myself in the interview process as an artist. Engaging with the same questions allowed me to reflect on my artistic evolution and contemplate the implications of this research journey for my own creative practice.