Jiha Moon wants to get people talking.
With a sweeping use of media — and often a bit of levity — Moon’s installations, paintings and sculptures sift the globe in an effort to understand and emulate the fusion of cultures and experiences that exists uniquely in each of us. Her artwork reflects that “fluidity” with historic elements from Eastern and Western art, familiar everyday objects, folk art and a touch of kitsch.
Moon, a professor at Florida State University, recently wrapped up a stint as an artist in residence at the Arkansas Museum of Fine Arts. Between hosting lectures and studio visits, Moon dove into her work in the AMFA Windgate Art School, drawing from her own background as a Korean American artist.
Soirée sat down with Moon to talk identity, her time in Arkansas and why elitism doesn’t deserve space in the art community
You’re known for blending styles, histories, cultures and lexicons the world over. What have you learned about the globalization of cultural identities that you didn’t expect?
JM: The seemingly simple question “Where are you from?” can be tricky to answer these days. Identity — as a concept linked to geographic location, citizenship, ethnicity and race — tends to shift and overlap. I am learning from each person I meet every day. Everyone has their own unique story and background that shapes who we are. Avoiding generalizations and taking the time to understand each individual’s experiences and perspectives is crucial to understanding someone. It requires empathy and respect. For example, you can’t tell the differences when you first see me if I am just Korean or Korean American who has lived here for over 20 years.
Your work often has elements of humor, but they don’t stop you from taking on issues like appropriation and racism. How do you find the balance between humor and seriousness?
JM: I say this often. No one wants to be lectured about any serious issues. Like my teenage son, he already knows when I start nagging.
Humor can be a powerful tool to engage people and spark conversation about important topics. Combining it with my visual language (colors, forms, textures, choice of materials) can create an impactful way to communicate those messages.
I much prefer the term “appreciation” over “appropriation.” When I borrow from the histories or other cultures, there is underlying respect and love. Those references always guide me in navigating the storytelling that I create.
You’ve said you’re against elitism in the art community. That won’t surprise anyone who has seen your Keanu Reeves vases, but why is the issue of elitism important to you?
JM: Elitism fosters exclusivity, creating an environment where not everyone is welcome. It thrives on the perception of being special or superior, leading to cliques and division. As a teacher at a state university, I believe in the importance of public education. Decorating your resume with fancy labels is so yesterday. I am enthusiastic about the evolving world we live in today. Despite numerous challenges such as ongoing wars and climate changes, many opportunities have emerged as well. As older generations, we are learning a lot from the new generations about being open-minded and how to embrace these new challenges.
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You describe yourself as a “cartographer of cultures.” Is there an end destination on your maps?
JM: Haha, no. My map is not good at guiding. It is more of an imaginary and adventurous one. I want people to find their road sign or landmark in my painting to inspire and find their unique journeys.
Tell us about the new work you created during your residency at AMFA.
JM: I spent two weeks at AMFA focusing on my paintings. I have a solo show coming up in October at Derek Eller Gallery in New York.
During my residency, I worked on a series inspired by bojagi, a traditional Korean quilt made by anonymous women in the 19th century Joseon dynasty. My grandmother and I collaborated on the compositions during my visit to Korea before the pandemic. I brought these pieces home to add the painting elements. This series combines fabric patchwork and acrylic paint, creating a unique and intricate fusion of materials. It has been a challenging but rewarding process, and I am excited to showcase this series in my upcoming solo exhibition.
You’ve lived and worked across the world. As each new place adds another layer to your own identity, what will you take from Arkansas?
JM: During a public lecture at AMFA, I shared a fascinating discovery about the deep connection between Arkansas and South Korea through World War II. I visited the MacArthur Museum of Arkansas Military History located next to AMFA and walked around the memorial almost daily. Despite being far from my home country of Korea, I felt a profound connection to it during my time there. This experience created a strong bond between my identities in both Korea and America.
If you had to pick one artwork that changed your life, what would it be and why?
JM: I must say Vincent van Gogh’s “The Road Menders.” When I visit D.C., I make a point to see this painting one more time at The Phillips Collection. The color of this painting is mesmerizing, and it inspired my “Yellowave” series where I use color to address cultural and political themes.
What was one piece you never got tired of seeing at AMFA?
JM: “June Shower” by Asher B. Durand. It is quiet, yet brings a huge power of what is about to come. I love the colors, details and drama in this study painting.
What did you enjoy most about your time in Little Rock?
JM: Nature! The weather was beautiful during my stay. Many friendly staff at AMFA, the museum gift shop, the museum restaurant and many harmless and joyful conversations we had.
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