When GaHee Park started painting, it was, in part, an expression of a youth in revolt. “My family was religious, conservative and pretty strict, and Korean society when I was young was very sexist, patriarchal and hierarchical,” she says. As a teenager she’d draw a lot of sexual and taboo stuff. “Throughout my twenties, that rebellious approach fuelled my work a lot.” Between works like “Butt on Face” , and “Fuck You Woman” , that early influence is more than apparent.
Now 35, GaHee is still primarily interested in goings-on behind closed doors. “Up until a few years ago, I’d still hide certain works from my family if they had nudity or sex in them,” she admits, “but eventually I realised that wasn’t necessary any more. They have seen my work and accept it now, if reluctantly.
My biggest influences have been from films by Rainer Werner Fassbinder, Nagisa Oshima, John Cassavetes, and Claire Denis. There are also a few really inspirational young female directors in Korea right now -- it’s especially exciting because there were almost no women making independent films there for a long time -- Yi Ok-seop, who made a film called. Both are amazing filmmakers with very specific personal visions.
To be honest, I don’t think about that very much. I try to put my own perspective into my work, and I’m happy to share that with viewers. I do hope some of what I’m expressing comes across, but what exactly they end up thinking about because of it is up to them.What are the themes you’re finding yourself drawn to at the moment? Has being in quarantine affected this at all?
I usually start a painting with a loose idea for an image: a composition or a gesture, something that gets my imagination going. Then, as I’m developing it, the themes emerge and I work with them, but I don’t usually start there. Like anyone, I tend to end up being drawn to certain themes or motifs again and again. A lot of those -- domesticity, private spaces and rituals -- already mesh pretty well with the concept of quarantine, so I’m not sure if it’s affected me much.
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