The purpose of this thesis is an attempt to explore and articulate the meaning of the relationships between my family and myself, which I regard as essential when considering the body of my work. This thesis, as a completion of the Thesis Show in the School of Art in May of 1999, identifies the concept behind and within my installation art work. I originally studied textile design, specializing in wall hangings and floor-cover tapestries, to earn my B.F.A. and M.F.A degree in Korea. However, I was still interested in installation work in fiber so I came to R.I.T. to explore the field of fine arts. My desire for doing installation work in fiber continued to develop as I studied in the Fine Arts Studio program at R.I.T. For seven years in Korea, I emphasized the perfection of the techniques of masterpieces in my work. It was a grateful period, but I received no inspiration for producing my own artworks. During my first year in the Master's of Fine Arts program at RIT, I struggled to define the concept for my artwork. I was dealing with emotional experiences and searching for the sensibility behind my creativity. Meanwhile, I explored new types of expression through painting and sculpture. Also, at that time, I studied a new skill in the weaving and textile program. Using the computer-weaving loom allowed me to create my works on a larger scale. At this period, I responded to my works based upon aspects of the relationships between my family and myself. I grew up in a family full of love, loyalty, and faith. For a long time, however, I had not recognized these potential ideas and I didn't realize how those concepts influenced my life and my art work. Through this thesis work, I re-explored my family's love, faith, and loyalty. During weaving my four woven pieces, every single one had been constructed with different patterns that evoked the unique personality of the each family member I recognized at that time. I couldn't stop missing my family, and I realized how much I love them. My commitment to creativity was only the way to recall my family to me. Meanwhile, I successfully assembled the memories of my family and identified the long relationships between us. This thesis work, Family Where You Always Are, consisted of four fine cotton woven pieces (45 inches x 9 yards/EA) accompanying three silk painting works (45 inches x 4.5 yards/EA) and two groups of painted ceramic tiles (4 inches x 4 inches x 200 pieces.) These nine pieces of my installation totally occupied a twelve cubic foot physical space. In this installation work, I presented rhythmic swirls within a warm nesting space that referred to the spirit of my family, and I suggested harmony with red, blue, white, yellow, and black. These colors are cultural and personal symbols: red symbolizes ambition; blue suggests intelligence; white represents wisdom; yellow evokes faith; and black depicts intimate relationships.
Library of Congress Subject Headings
Installations (Art)--Themes, motives; Textile fabrics--Themes, motives; Silk painting--Themes, motives; Tiles--Themes, motives; Families
Department, Program, or Center
School of Art (CIAS)
Lim, Eun-Hee, "Family where you always are" (2000). Thesis. Rochester Institute of Technology. Accessed from
RIT – Main Campus
Note: imported from RIT’s Digital Media Library running on DSpace to RIT Scholar Works. Physical copy available through RIT's The Wallace Library at: N6494.I56 L55 2000