a table with
Lily Kong

우리에게 날아든 사랑스러운 펀치
A delight punch that strikes at us


LIST



Artist Lily Kong Editor Danbee Bae Image by Lily Kong

This project <PRINTS> worked with RAWPRESS


TABLE #2

“I’m really fine” or “I’m annoying”


테이블에 자유롭게 늘어진 노란색 스케치북아이패드커피
일러스트레이터 릴리콩이 그림을 그리기  자신의 테이블에 사물을 늘여놓은  그림을 그린다
무표정한 얼굴로 괜찮다고 말하거나 웃는 얼굴로 괜찮지 않다고 말하는 그런 그림
모순과 역설로 만든유쾌하고 긍정적인 농담이 유독 오래 마음에 남는다그가 그리는 그림과 작업에 대한 이야기.


A yellow sketchbook, an iPad, and coffee are scattered freely over the table.
Before illustrator Lily Kong begins her drawing work, she first arranges her favorite objects on her table. 
Images such as the impassive face which claims it is really “fine,” or the smiling face which says it is not okay … the positive, delightful humor created by such paradoxes and ironies leave a long-lasting impression on our hearts. Kong shared stories about her art and her work process. 


2017년에 ‘하이 바이 스튜디오Hi-Bye Studio 시작했어요 스튜디오를 통해 어떤 활동에 집중해 전개하고 있나요

하이 바이 스튜디오는 일러스트레이터 홀리 세인트 클레어Holly St.Clair와 공동으로 운영하는 단체예요. 이 스튜디오 활동으로 워크숍 및 액티비티 북처럼 대화를 유발하는 작업을 만들고 있어요. 작년에는 ‘테이트Tate’와 협력하여 프란츠 웨스트Franz West의 작품 세계에서 영감을 얻은 3D 콜라주 제작 워크숍을 진행했어요. 이 워크숍은 테이트 레이트Tate Late에서 공개적으로 진행했고요. 예술을 창작하면서 우리 삶의 이야기를 공유할 수 있는 공통적 토대로서 워크숍을 설계했어요. 


In 2017, you launched the Hi-Bye Studio. What kind of activities have you been focusing on in this studio? 

The Hi-Bye Studio is an organization I run jointly with illustrator Holly St. Clair. Through the studio, we've been working on projects that stimulate conversation such as workshops and activity books. Last year, we collaborated with the Tate to offer a workshop in creating 3D collages inspired by the oeuvre of Franz West. This workshop was offered openly through Tate Late and we designed the workshop as a common foundation for sharing the stories of our lives. 

누구든 일상의 컨디션을 끌어올리거나 작업에 도움을 주는 물건이나 요소가 있기 마련이에요작가의 테이블 이것만은  있어야 한다는 것을 남긴다면 무엇인가요? 

아이패드, 커피, 필통과 작고 노란 스케치북이요. 도안 작업을 할 때 아이패드를 주로 사용하기 시작했어요. 설정이 간편하거든요. 덕분에 무거운 노트북과 드로잉 태블릿을 가지고 다닐 필요가 없어졌어요. 점심식사 후에는 두유를 첨가한 필터 커피를 마시는데, 그림을 그리고 일할 때 이 커피가 에너지를 샘솟게 해주고 컨디션을 끌어올려 줘요. 게다가 식곤증도 물리칠 수 있죠. 필통과 작은 노란색 스케치북은 어디를 가든 꼭 가지고 다니는 물건이에요. 아이디어가 떠오르는 즉시 기록하고 스케치해요. 


그림을 보고 있으면 밝고 자유로운 톤의 음악을 듣고 있는 기분이 들어요평소 그림을 그릴  음악을 듣거나 틀어 놓는 편인가요? 

물론이죠! 음악은 스튜디오에서 매우 중요한 역할을 해요. 최근에는 테임 임팔라Tame Impala의 신작 ‘The Slow Rush’와 봄베이 바이시클 클럽Bombay Bicycle Club의 ‘Everything Else Has Gone Wrong’를 자주 들으며 작업했어요. 어스, 윈드 앤 파이어Earth, Wind and Fire의 노래들과 여러 클래식도 듣고요.


Everyone has an item to improve their daily condition or help them with their work. What stuff should be on the table for you as an illustrator?

I would say that iPad, coffee, pencil case, and my small yellow sketchbook should be on the table. Making a design, I recently started using iPad. It's very useful, so I don't have to carry a heavy laptop and drawing Tablet anymore. After lunch, I drink a drip coffee with soy milk, which energizes me and boosts my condition when I work. Also, it's good for languor after a meal. A pencil case and a small yellow sketchbook are things I always carry with me wherever I go, and as soon as I come up with the idea, I write down and sketch it right away.


Looking at your artwork gives me the feeling of listening to music with a bright and free tone. Do you often listen to or play music in the background when you're working on your drawings? 

Of course! Music plays a really important role in the studio. Recently, I've been often listening to the new album The Slow Rush by Tame Impala or Everything Else Has Gone Wrong by the Bombay Bicycle Club while I work. I also listen to songs by Earth, Wind and Fire and a lot of classic works as well.

만약 지구가 드라마에 등장한다면, 상대에게

“나에 대해 정말 신경을 쓰기나 하는 건가요?! Do you really fUxxking care about me?!

라고 외치지 않을까요?


그림을 그리는 방식은 저마다 다르고  스타일은 변하기도 합니다작가의 그림을 보았을  느껴지는 심상은비교적 편안한 태도와 자유로운 상상으로 그림을   있게 한다는 거예요그래서 하나의 ‘놀이처럼 다가오기도 해요.

‘놀이’나 ‘역동적’으로 느껴지는 작품을 창작하기 위해서는 보는 사람들의 반응을 고려해야 해요. 다시 말해, 상상의 여지를 남겨둠으로써 그 그림이나 작품을 보는 사람들이 그 부분을 자신의 경험을 통해 채울 수 있도록 해야 하는 거죠. 사람들이 그림이나 작품을 보고 웃거나 의견을 제시하는 등 격렬하게 논한다면 그야말로 이상적이에요. 당연히 그 그림이나 작품에 흥미를 끌게 하는 등 재미있어야 하고요. 


일상적 장면뿐 아니라 사회적·환경적 이슈에 대해서도 관심을 기울이고 이를 작가만의 특유의 무드로 담아내고 있어요최근 ‘홍콩 시위 ‘기후 변화’ 등을 그림으로 그린 작업처럼요결코 가볍지 않은이런 세계적 이슈가 자신의 삶과 그림 작업에 어떤 의미로 다가오나요?

점점 나의 사회에 소속감과 관심을 기울이고 있어요. ‘홍콩’과 ‘지구’라는 행성에 말이죠. 지역사회에서 문제가 발생했을 때 어떠한 조처를 취한다는 것은 정말 당연한 일이에요. 그래서 내가 과연 무엇을 할 수 있는지 생각해보게 돼요. 이러한 사회적·환경적 문제들은 대개 창작 작품으로 다루기에는 상당히 광범위해요. 가끔은 작품이 일반 대중들에게 더욱 친근하게 다가갈 수 있도록 주제를 구체화하고 감정을 더하기도 하죠. 제 그림 ‘Do you really care about me?’에서는 지구를 다른 이들로부터 거의 사랑을 받지 못하는 불쌍한 캐릭터로 구상했어요. 만약 지구가 드라마에 등장한다면, 상대에게 “나에 대해 정말 신경을 쓰기나 하는 건가요?!Do you really fexxking care about me?!”라고 외치지 않을까요?


Every artist has an individual way of drawing and their styles may change over time. When we look at your artworks, we feel very comforted and invited to engage in a free play of imagination. Your works in some ways feel like a kind of playful game. 
To create works that generate a sense of play or dynamism, I need to consider the responses of viewers. In other words, I need to leave room for them to engage their own imagination. The people who look at the drawing or the artwork should be able to fill those spaces with their own experiences. If a drawing or an artwork moves people to laugh or to present their opinions and engage in intense discussion, I would consider that ideal. The artwork must of course have something that attracts people’s delight and interest.


You not only portray scenes of everyday life but also pay a lot of attention to social and environmental issues and address these topics with a distinct mood of your own. Recently, you've worked on projects reflecting on the demonstrations in Hong Kong or climate change. These are not light-hearted issues. How are such global topics meaningfully imbricated in your own life and work?

I've become increasingly more attentive to my community with a greater sense of belonging. My community ranges from Hong Kong to the planet earth. When a problem occurs in the local community, it's natural that we take responsive action. I've been prompted to think about what I can contribute. These social and environmental problems are very wide-ranging issues that can be challenging to portray in art. Sometimes, I try to take a more concrete and emotional approach to make these issues seem more intimate to the general public. My artwork titled “Do you really care about me?” portrayed the earth as a pitiful character who has not received love from others. If the earth was a character in a drama series, it would probably shout “Do you really fexxking care about me?!”


 워크숍 진행에서 아이디어로 적은 내용 중에는 “A Piece of text that moves you”라는 문장을 보았어요그림과 텍스트의 연결성이나 이를 보여주는 방식에 대해 어떻게 고민하고  풀어가려고 노력하나요?

이미지와 텍스트의 연관성을 전달하는 방법을 지정하기는 어려워요. 지금도 계속해서 콘텐츠를 어떻게 하면 더 잘 이해할 수 있을지 탐구하고 있어요. 그렇대도 북 워크숍을 통해 어떻게 아이디어를 찾는지, 그것이 어떻게 이미지와 텍스트로 이어지는지 기꺼이 사람들에게 공유하려고 해요. 앞서 이야기한 엘리자베스 길버트의 책은 제게 이 부분에 있어 의미가 깊은 책이에요. 저자는 “아이디어는 바람처럼 왔다 간다”고 말해요. 즉, 아이디어를 좇고 포착하고 즉시 텍스트로 기록하지 않으면, 다시는 돌아오지 않는다는 거예요. 그래서 어딘가 갈 때마다 포켓 스케치북과 펜을 꼭 챙겨요. 또 일상생활의 경험 중에서 흥미로운 일들을 기록하고요. 이를테면, 기차에서 들려오는 어색한 대화, 친구들의 어처구니없는 이별 경험, 자가 격리 기간 중 식료품을 사러 갈 때 사람들의 옷차림 등에 대해서 말이죠. 이 모든 메모와 스케치가 제가 하는 작업의 바탕이 돼요. 메모를 많이 하면 할수록, 도안의 펀치 라인punch line을 쉽게 찾을 수 있어요. 본질적으로 제가 완성하는 일러스트레이션은 이렇게 메모한 내용을 토대로 만들어져요. 그 메모들을 통해 시나리오나 설정의 단서를 얻게 되면, 보는 사람들도 일러스트레이션을 더욱 잘 이해할 수 있어요.


하나의 밈과 같은 형식으로써작가의 그림을 완성하는 데에는 텍스트의 역할이 커요. ‘마시멜로 베이비Marshmallow Babies 불리는그림에 주로 등장하는 미소 지은 얼굴의 생명체는 웃으며 괜찮지 않다고 말하거나무표정한 얼굴로 괜찮다고 말하죠전면적으로 기쁨이나 슬픔을 그리는  아닌그림과 간결한 텍스트를 통해 ‘모순 ‘역설 보여줌으로써 강력한 펀치를 날리는 듯해요.

역설법을 통해 메시지를 더욱 강조하는 거예요. 비극의 슬픔만 강조하는 것도 괜찮겠지만, 슬픔을 ‘나는 전혀 신경 안 써’라는 의연한 태도와 조합하면, 서로 대비를 이루게 돼요. 이러한 모순이 역설을 창출하고, 역설을 통해 슬픔은 더욱 고조되는 거죠. 


외부와의 콜라보레이션은 상생 프로젝트로작가를 알리는 동시에 새로운 작업을 해보는 기회이기도 합니다어떤 기관이나 브랜드와 콜라보레이션을 해왔나요?

‘테이트Tate’, <에이스 앤 테이트 저널Ace & Tate Journal>, <인턴 매거진Intern Magazine>과 협업했어요. <에이스 앤 테이트 저널>과 <인턴 매거진>의 경우, 에디토리얼 일러스트레이션 작업을 했어요. 실패에 대한 소재(‘We Need To Talk About Failure’)와 미술학도 및 그들의 졸업 이후의 삶(‘No Regrets’)에 대한 작업이었죠. 클라이언트들은 고맙게도 저와 같은 젊은 일러스트레이터에게 일을 맡겨 주었고, 새로운 아이디어와 밝고 활기찬 색감을 반겨 주었어요. 이것들은 모두 정말 재미있는 작업이었죠.


In the notes you wrote as ideas for a book workshop I saw the phrase “A Piece of Text That Moves You.” What are some of the solutions you’ve found as you reflected on how to create a correlation between image and text? 

It is hard to offer a fixed solution to communicating the relation between image and text. I continue to explore how I can better understand content. Through the book workshops, I tried to share as transparently as possible how I find ideas and how they generate images and text. The book by Elizabeth Gilbert that I mentioned earlier has been very meaningful to me in this aspect. The author explained that ideas come and go like the wind. In other words, when we pursue and capture ideas, if we fail to record those ideas immediately as text, they may never return. Therefore, I always take a pocket sketchbook and pen with me when I go somewhere. I also keep a record of interesting experiences I have in daily life. For example, I record awkward conversations I overhear on the train, ridiculous experiences of separation that my friends shared, and write descriptions of outfits people wear when they go grocery shopping during the quarantine period. All these memos and sketches form the foundation of my art projects. When I keep copious notes, it becomes easier to find a punchline for my drawings. Essentially, the illustrations that I complete are made from the foundation of these memos. The memos give me a clue to a certain scenario or situation, and this helps my viewers understand the illustrations better as well. 



Text plays a key role in completing your drawings, which operate sometimes like a meme. There are smiling creatures named Marshmallow Babies that often recur in your work, who claim to be not okay even while smiling, or claim to be fine with a stoic face. We noticed that your work combine image with such brief text in a way that throws a powerful punch driven by irony and paradox.

I use irony to underscore my message. It may be fine to emphasize only tragic sadness but when we combine that sense of sadness with the impassive attitude of appearing to not care, we generate a contrast, and such ironic juxtaposition creates paradoxes. I believe that the paradox heightens our perception of sadness. 


Collaboration with a brand is a project for mutual support; collaboration may bring an artist more recognition and an opportunity to try new types of projects. Which brands have you collaborated with in the past?

I have previously worked with Tate, Ace & Tate and Intern Magazine. I did some editorial illustrations for the later 2 brands, one about the urgency to talk about failure and the latter about art students and their postgraduate life. My clients were very kind to commissioning a young illustrator like me. I had much fun working with them. They are open to news ideas and bright joyful colours. If you are interested in reading the articles,




평소 즐겨 입는 패션 스타일이나 좋아하는 패션 스타일이 있는지 궁금해요.

편안하게 옷 입는 걸 좋아해요. ‘블루 온 블루Blue on blue’는 제가 가장 좋아하는 패션 코드죠. 저는 강렬한 모노 톤이나 소수의 색상만 매치하기를 선호해요. 멀리서 봤을 때 내가 어떻게 보일지 상상해보고는 하는데, 많은 색상을 사용해야 하는 경우에는 거리와 어우러지면서 튀지 않는 색상을 매치해요. 단색으로만 입는 경우에는 당연히 파란색을 선택하고요. 


그간 작업해온 다섯 개의 아트워크와 커스텀멜로우 로고에서 따온 알파벳 ‘C’ 아트워크까지특히 이번 패션 브랜드 ‘커스텀멜로우Customellow 콜라보레이션을 통해 한국에 릴리 콩의 그림을 패션에 접목해 보여줄  있는 특별한 계기가  텐데요새로 작업한 로고를 제외하고 특별히 고른 아트워크들에 담긴 작업 스토리나 의미를 소개해주세요.

이 다섯 개의 일러스트레이션은 지나친 업무에 찌든 현실, 그런데도 제대로 인정받지 못하는 풍조, 수면 부족과 스트레스로 점철된 문화에 대해 지적한 그림들이에요. 첫 번째 ‘Busy, Easy, Peasy’는 바쁜 일상을 가볍게 표현했어요. “걱정하지 말고 행복하자. 별일 아니다!”라고 말이죠. 두 번째 ‘No’는 얼마 전 제게 추파를 던진 낯선 사람에 대해 직접적으로 그린 것이에요. 그 사람과의 대화는 정말 불편했어요. 자리를 박차고 싶었어요. 결국 화가 나서 “No”라고 소리쳤죠. 그 순간, 그의 얼굴에서 패닉을 느꼈어요. 자신을 보호하기 위해 나서니 상대가 결국 물러나더라고요. “No”는 진정 자신을 지키기 위한 강력한 말이에요. 세 번째는 ‘Do you really care about me?’로, 지구를 인간으로 의인화해 마치 쓰레기처럼 취급을 받으면 어떤 기분일까 상상하며 작업한 일러스트레이션이죠. 네 번째는 ‘I’m Fine’으로, 우리의 기분을 괜찮아지게 만드는 전형적인 문구인데, 우리는 괜찮아지고 싶어 하지만, 사실 괜찮기는커녕 곤란해지고는 하잖아요. 다섯 번째 ‘It Hurts’에서는 실패자에 대해 다루고 싶었어요. 실패자는 폭력적이면서도 취약해서 다른 누군가에게 쉽게 상처를 줄 수도, 상처를 받을 수도 있어요. 실패는 비극이지만, ‘It Hurts’라는 고백을 통해 상처를 조금이라도 덜 수 있다고 생각해요. 


작가가 작업하는 그림들처럼무표정한 얼굴로 “괜찮아I’m Fine라고 말하거나 미소  얼굴로 “괜찮지 않아I am annoying라고 말하듯패션 브랜드 커스텀멜로우는 ‘딱딱함CUSTOM ‘부드러운MELLOW’   가지 상반된 개념을 조합한 이름이라는 점에서 어떤 ‘역설 공통점을 갖는 듯해요. 

역설은 서로 닮아있고, 그 효과는 줄곧 돋보이죠. 기쁨의 미소가 ‘괜찮지 않아I am annoying’라는 펀치 라인과 충돌하게 되면 기쁨은 더욱 고조돼요. 이와 마찬가지로 커스텀멜로우 브랜드도 ‘딱딱함Custom’과 ‘부드러운Mellow’이라는 단어를 조합한 것이죠. 이 대조적인 컨셉들은 서로 역설적으로 전혀 어울리는 것 같지 않지만, 오히려 그래서 신선하면서도 조화로운 디자인을 만들어요. 이것이 바로 역설법의 예기치 못한 효과라고 볼 수 있어요.


How would you describe your own usual fashion style, or your favorite style?

I like to dress in comfortable clothes. ‘Blue on blue’ is my favourite fashion code. And I love the intensity of mono or only a few colours. I always imagine how I will look from far. If I had too many colours I may blend into the colours of the street and eventually disappear. If I dress in one colour only, at least I am obvious as one blue chopstick lol.


You’ve presented five artworks and created art from the alphabet C taken from the Customellow logo as part of your collaboration with the brand. This collaboration with the fashion brand Customellow promises to be a special opportunity to apply your drawings to fashion in South Korea. Aside from the new work you did for the logo, would you tell us more about the stories and meanings behind the artworks you specially chose for this project?

The five illustrations are pictures that portray the reality of being overwhelmed by work and satirizes how we often fail to be recognized for our labor. They reflect a culture of sleeplessness and stress. The first work titled “Busy, Easy, Peasy” portrayed our busy daily lives in a lighthearted way, as if trying to console ourselves not to worry, to be happy – as if though the situation is nothing serious. The second work “No” was created in direct response to my experience of being harassed by a stranger. The conversation with that person was very uncomfortable and I wanted to break away. I became so enraged that I yelled “No!” At that moment I felt panic in his face. He backed away to protect himself. “No” is a powerful utterance that can truly defend yourself. The third work “Do you really care about me?” is an illustration that personifies the earth and invites you to imagine how it feels to be treated as trash. The fourth, “I’m Fine,” takes its title from a typical phrase we utter to make ourselves feel better. Although we want to be fine, sometimes we find ourselves overwhelmed and not fine at all. The fifth, “It Hurts,” was intended to portray what it means to fail. Those who fail can be hurt by others but also give hurt to others, being simultaneously violent and vulnerable. Although failure is a tragedy, confessing that it hurts can mitigate our pain. 


Just as your artworks startlingly combine an impassive face with the phrase “I’m fine,” or a smiling mien with the phrase “I am annoying,” the fashion brand Customellow combines two contrasting concepts, “custom” and “mellow.” In this sense, perhaps you and the brand share the common ground of being attracted to paradox.

The paradox is something we have in common and the effects are very evident. When the joyful smile clashes with the punch line “I am annoying,” our pleasure is intensified. In the same way, the brand Customellow combines the words “custom” and “mellow,” an unlikely pairing. These contrasting concepts may seem as though they don't go with one another but that may be the very reason that the brand is able to create fresh and harmonious designs. This, I think, is the unexpected effect of paradox. 



‘No’는 얼마 전 제게 추파를 던진 낯선 사람에 대해 직접적으로 그린 것이에요. 

그 사람과의 대화는 정말 불편했어요. 자리를 박차고 싶었어요. 

결국 화가 나서 “No”라고 소리쳤죠. 

그 순간, 그의 얼굴에서 패닉을 느꼈어요. 

자신을 보호하기 위해 나서니 상대가 결국 물러나더라고요. 

“No”는 진정 자신을 지키기 위한 강력한 말이에요.

커스텀멜로우와의 콜라보레이션 작업에 흔쾌히 동참한 이유가 있다면 무엇인가요?

개인적으로 커스텀멜로우가 젊은 아티스트와 협력하는 방식이 매우 마음에 들어요. 헌신과 열정, 특히 다른 이들과 협력을 통해 더욱 큰 영향력을 발휘할 수 있다는 비전이 마음에 들어요. 이 협력을 통해 무한한 가능성을 만들 수 있죠. 커스텀멜로우 브랜드의 모순된 이름에서 전해지는 느낌이나 가치관은 제 일러스트레이션의 역설법과 매우 잘 어우러져요. 그래서 커스텀멜로우와의 콜라보레이션은 제게 즐거움 그 이상이었어요.


작가의 여러 아트워크 중에는 알파벳 시리즈 일러스트레이션 작업도 있어요커스텀멜로우의 로고에서 따온 알파벳 ‘C’에서는 인물이 둥글게 자신의 몸을 말아 무언가를 포개고 보듬는 모습으로역시 미소  얼굴입니다어떤 영감으로부터 그리게 되었나요

커스텀멜로우 컬렉션을 보면서 먼저 어떻게 브랜드를 의인화할 수 있을까 상상해 보았어요. 이 브랜드는 세련되고 편안한 의상들을 디자인하고 있는데, 캐릭터에 그 두 가지 특성을 모두 담고 싶었죠. 그래서 ‘C’를 마치 누군가를 포옹하는 것처럼 밝고 부드럽게 디자인해 완성했어요. 


특히 작가가 개인적으로 가장 마음에 드는 커스텀멜로우와의 콜라보레이션 제품이 있다면 무엇인가요?

특히 미니 백이요. 정말 귀여워요.(웃음)


What was the reason that you readily agreed to participate in a collaboration project with Customellow?

Personally, I am very pleased with the way Customellow collaborates with young artists. I agree with the brand’s vision that with dedication and passion and collaboration with others we can exercise greater influence. Such collaboration creates infinite potential. The paradox reflected in the name Customellow conveys a sensibility and a set of values that merge very well with my own ironic approach to illustrations. Therefore, collaborating with 

Customellow was beyond a great pleasure for me.


Some of your artwork includes illustrations of a series of alphabets. The alphabet C, derived from the logo of Customellow, looks like a person who is curving inwards to embrace and coddle something, with a smile. What inspired this drawing?

As I looked at the collection by Customellow, I imagined how I might personify the brand. The brand designs very chic and comfortable clothing and I wanted the character to convey both characteristics. Therefore, I created an image that feels as bright and soft as a warm hug.


Which of the products that you collaborated on with Customellow are your personal favorites?
The mini bags. They are awfully cute. (Laughter)

어느 기사를 통해 “좋은 일은 상대적이어야 한다고 믿는다I believe good work should be relatable 말한 것을 보았어요그럼에도 자신의 그림을 통해 사람들이 어떤 기운이나 감흥을 받기를 바라나요그리고 앞으로 어떤 ‘좋은 그림good work 그리고 싶은가요?

훌륭한 작품은 공감대를 형성하기 마련이에요. 다른 사람이 자신이 한 토에 미끄러져 넘어지는 등의 불행한 일을 겪어도 의연하거나 괜찮다고 자신을 격려하면서 성인으로서의 삶에 대한 고통을 느꼈으면 해요. 최근에 숀 탠Shaun Tan의 『The Red Tree』를 읽고 다시 한번 일련의 순서를 지닌 일러스트레이션에 매료되고 말았어요. 정말 감동적이었어요. 글과 일러스트레이션 모두 말이죠. 이처럼 다른 누군가의 기분을 좋게 만들면서도 무언가 더욱더 시적이고 감동적인 메시지를 전달하는 그런 작품을 계속해서 창작해 나가고 싶어요.


In another article, I read your statement, “I believe good work should be relatable.” What kind of energy or inspiration do you want other people to receive from your own work? How would you define “good work” for your upcoming projects?

A good work will form empathy with its viewers. I hope that viewers will share in the pain of living as an adult, for example, when they see an image of someone who experiences misfortune, such as slipping on their own vomit, but nonetheless trying their best to remain stoic or console themselves. Recently, I read The Red Tree by Shaun Tan, and became enamored by illustrations presented as a series. They were very moving, both the text and the illustrations. I want to continue to create work that likewise gives pleasure to others while conveying a poetic and moving message.






일러스트레이터 릴리 콩의 브랜드 콜라보레이션 관련 기사는 아래 링크를 통해 확인할 수 있습니다.

An article on brand collaboration with Illustrator Lily Kong can be found on the link below.


‘We Need To Talk About Failure’, <Ace & Tate Journal>

‘No Regrets’, <Intern Magazine>


COPYRIGHT © CUSTOMELLOW 2020.

All RIGHTS RESERVED.

COPYRIGHT © CUSTOMELLOW 2020. All RIGHTS RESERVED.