Why I Paint the Moon and the Flowers

Traces of Life

Kindness is the ability to hold our own heartbreak and continue to live, to resist, to heal, and to remain human.

— Sandra Oh, Commencement Address at Dartmouth College, 2025

This archive is a collection of my ruminations on why I paint the moon and the flowers. Through these works, I offer a heartfelt embrace, nature’s way of holding those who stand at the edge of the world while never losing their kindness.

The Moon and The Flowers

I draw upon the moon and the flowers as companions in my journey. These stories explore why these subjects have become the primary medium through which I express my thoughts and find solace.

The Moon and The Moon Jar

The moon holds a profound place in the Korean spirit. Here, I delve into the cultural and historical resonance of the moon, exploring why it has been cherished so deeply through the lens of the ‘Moon Jar’ and our shared heritage.

References for the Moon Jar

Historical Origins and Craftsmanship

[Referenced in Part 1 & Part2]

  • Song Ying-xing: Tiangong Kaiwu (The Exploitation of the Works of Nature),
  • Bang Byung-sun: Ceramics- Vessels That Resemble People, Boram Publishing
  • Kang Tae-chun: A Study on the Manufacturing Techniques of White Porcelain Moon Jars, Master’s thesis, Korea National University of Cultural Heritage

Symbolism of White and Neo-Confucian Aesthetics

[Referenced in Part 1 & Part3]

  • Kim Sang-hee: The Neo-Confucian Spirit Flowing beneath the Moon Jar, Korean Studies, Vol. 47, No. 2,
  • Kim Hye-won: A Study on the Aesthetic of White in Korean Art, Master’s thesis, Kyung Hee University
  • Bang Byung-sun: The Heart of Joseon Crafted in Pure White, Dolbegae Publishing

National Identity and the History of Resilience

[Referenced in Part 1 & Part 3]

  • Soh, Hwang-Oak: TThe People of White Clothes from Modern Perspectives, International Journal of Costume and Fashion
  • Choe Wan-su: The Golden Age of Our Culture: The Jingyeong Era, Dolbegae Publishing
  • Kim Jae-yeol: Rewriting the History of Gyeonggi Ceramics, Gyeonggi Cultural Foundation

National Identity and the History of Resilience

[Referenced in Part 3]

  • Kim Whan-ki: Where, in What Form, Shall We Meet Again?, Whanki Museum
  • Cultural Heritage Administration (Republic of Korea): Public Notice on the Change of Designation for Movable Cultural Heritage,
  • Hong Gi-dae: Udang Hong Gi-dae: 80 Years with Joseon White Porcelain, Culturebooks Publishing
  • Horlyck Charlotte: The Moon Jar: A Quintessential Korean Icon,
  • Choi Sun-u: Standing Against the Entasis of Muryangsujeon, Hakgojae Publishing
  • Dong-A Ilbo: Column- The Beauty of the Moon Jar,
The moon rises even in low places (2026) by Bohwa Kim is a serene acrylic painting featuring a large and luminous pinkish yellow moon positioned at the bottom center of the canvas. Above the moon large layered leaves in vibrant pink and soft blue surround small Mayapple flowers that bloom facing the ground. The entire composition is set against a solid dark blue background symbolizing that hope and light can be found in the lowliest of places.
The moon rises even in low places (2026)

Early of July, 2026 —