Ewha Womans University traces its roots back to Mary Scranton's Ihwa Hakdang (also Ewha (梨花學堂) mission school for girls, which opened with only one student on May 31, 1886 (Lee, 2001). The name, which means “Pear blossom academy”, was bestowed by the Emperor Gojong the following year. The school began to provide college courses in 1910, and professional courses for women in 1925. Immediately following liberation of Korea on August 15, 1945, the college received government permission to become a university. It was the first South Korean university to be officially organized.

My mom’s major was Arts and Design. In Ewha, the College of Arts and Design, having started as the Yaelimwon Department of Fine Arts, Korea's first art education institute to contain both the domains of fine arts and design in 1945, has since brought forth many women art professionals and leaders throughout its 50-year-old history and tradition.

The College of Arts and Design endeavors to cultivate talented persons who, by adjusting to the international environment of popular culture and pluralism, will take on major roles in the amelioration of arts and culture by practicing integrated education which endows students with both intelligence and creativity continuously researching and developing a curriculum that enforces differentiation and uniqueness to bring forth professionals who meet contemporary requirements.

Under her Alma Mother’s education spirit, the purpose of education has been for modernization of women's education upon the spirit of Christianity, enlargement of opportunities for women's education, nourishing women leaders, orienting toward the harmonized society with equal sex through these aims. Based on this idea, she decided to study abroad. In the mid of 1960’s, she enrolled in United State's prestigious University - Marquette University. Marquette University is a, private, coeducational, Jesuit, Roman Catholic university located in Milwaukee, Wisconsin, in the United States of America. Founded by the Society of Jesus in 1881, it is one of 28 member institutions of the Association of Jesuit Colleges and Universities. The university is accredited by the North Central Association of Colleges and Secondary Schools. It currently has a student body of 11,500, making it one of the largest Jesuit universities in the United States, and the largest private university in the state of Wisconsin.

By the time she was 26, she had traveled throughout much of America and Japan, which would remain a passion throughout her life. When she was 28, she got married, and went to New York, NY., USA with her husband - my father.

Until now, she loves her major. Therefore she is a member of Korean Fine Arts Association. The Korean Fine Arts Association was established at December 18, 1961. Inaugural General Meeting was held at the auditorium of Sudo Women Teachers' College: 5 Sectoral Committees (Oriental painting, Western painting, Sculpture, Handicraft and Calligraphy) were formed: the Association was formally established in order to advance the nation's fine arts, to advocate the rights and interests of artists, to facilitate international exchange of fine arts, and to promote recirocal cooperation among artists. Park Deuk-sun was elected as the first Chairman of the Board of Directors: two vice-chairman were Kim hwan-gi and Kim Sejung respectvely.

Since she came back to south Korea, Seoul, she was one of famous painters in South Korea. Hang-Seop Shin, who is Art Critic described her art works like below:

The Beauty of Ink-paintings Reflecting the Artist's Inner Images

'An Exhibition Reminding Us of the Beauty of the Korean Ink Paintings by Jung-Sun Shin

We may say that paintings, regardless of their styles and modes, are always an expression of the artists' inner images of the objects portrayed. Even when artists depict real objets, they cannot but reflect their own sentiments by their choice of subjects and equally the design of the paintings. When artists produce abstract works, they have to rely more on their sentiments and inner images. Jung-Sun Shin's paintings seem to put more emphasis on expressing her inner sentiments. Her works reveal the actual forms or realities only vaguely, yet they are not purely abstract paintings. Looking at the pictures, we can perceive or discern existing real objects through association even though we cannot see the forms precisely. The forms depicted in her works oblige us to imagine certain grasses or flowers of the real world, and yet they do not depict precise plants. We can imagine that they are obviously pictures of plants but we cannot be certain of it. Her works do not usually depict actual objects of the real world. However, a few represent real objects, for example "The Martyrs' Shrine at yang-hwa-jin.

Neverthless she rarely depicts the real world. Even if she derives the motifs of her work from nature and daily life, she expresses them in an abstract way. The titles of her works, i. e,, "An Aspiration,' Reminiscence," "spring Whisper," "The Hymn of My Heart," and the like are abstract. On the other hand, her works include paintings of the real world such as "Pine Trees," "An Rainy Afternoon,' "A Landscape.' In this way her works are not purely abstract. Thus we can say that even her abstract works i are not entirely disconnected (or separated) from nature and the real world.

Perhaps we can say that her work I straddles the dividing line of the abstract and concrete, Paintings which do not depict real objects, that is, abstract paintings are naturally the product of the artists' their inner life, For abstract works artist probe the emotional world connected with their daily life and their conscious as well as their subconscious worlds. Especially since the debut of abstract languages and expressions, we have become more actively concerned with the inner life beyond the world of senses and touch. Yet. as her work indicate. We often utilize concrete rather than subconscious expressions as a technique of expressing our inner world, that is, we use a method reinterpreting the natural world into abstract images. In this way the abstract languages come to us as familiar images.

We can free ourselves from the fears and anxieties of abstract languages even though they are not based on the world of our daily experiences. In other words. while they reinterpret nature's images into abstract languages we can have a sense of familiarity in the language of abstraction. Jung Sun Shin uses black ink, brushes and paper and traditional painting techniques in her works. Because of this, we feel visual sentiments of familiarity although the works are abstract. The sense of r familiarity or intimacy is very important in abstract l painting because it help us to understand the works. The traditional Korean soomookwha paintings themselves touch our emotional chord as something familiar. Probably because of this the abstract expressions she uses in her works are not strange to us. The reason that her abstract expressions come to us n a familiar way may be partly due to their association with the images of plants,, yet another reason we cannot overlook is the fact that she uses brushes for her paintings. We can see in her paintings the internal order amid seeming confusion, and the movements of gentle yet powerful and exact lines. They are the effects of the brush. We can see in her works a strong force of vertical ascension as well as the characteristics of the materials utilized. Is this due to her pursuit of the image of the plant? This may be due to her religious conviction, yet we cannot but be captivated by the sentiment of craving for heaven, of stretching one' s hands toward it.

At the same time, her works are full of delicate expressions which draw our attention to the murmurs of mother nature. Her works may be an attempt to distill the mystery and profound delicateness of nature through our sense organs with their fine blood vessels. The reason we perceive in her paintings the movement of gentle and supple lines as well as their dynamic side may be due to her endeavors to capture this aspect of nature. Her works, not tied to concrete forms yet fully conveying natural images, are the products of well trained workmanship and techniques employed to express personal sentiments. By works pursuing inner worlds, the artist tries to help us understand abstract paintings in a new way and shows us the true beauty of soomook paintings.

Printmaking is the process of making artworks by printing, normally on paper. Except in the case of monotyping, the process is capable of producing multiples of the same piece, which is called a print. Each piece is not a copy but an original since it is not a reproduction of another work of art and is technically known as an impression. Painting or drawing, on the other hand, create a unique original piece of artwork. Prints are created from a single original surface, known technically as a matrix. Common types of matrices include: plates of metal, usually copper or zinc for engraving or etching; stone, used for lithography; blocks of wood for woodcuts, linoleum for linocuts and fabric plates for screen-printing. But there are many other kinds, discussed below. Works printed from a single plate create an edition, in modern times usually each signed and numbered to form a limited edition. Prints may also be published in book form, as artist's books. A single print could be the product of one or multiple techniques.Fine art photography refers to photographs that are created to fulfill the creative vision of the artist. Fine art photography stands in contrast to photojournalism and commercial photography. Photojournalism provides visual support for stories, mainly in the print media. Fine art photography is created primarily as an expression of the artist’s vision, but has also been important in advancing certain causes. The work of Ansel Adams' in Yosemite and Yellowstone provides an example. Adams is one of the most widely recognized fine art photographers of the 20th century, and was an avid promoter of conservation. While his primary focus was on photography as art, his work raised public awareness of the beauty of the Sierra Nevada mountains and helped to build political support for their protection.

Participations in the Exhibitions:

The Arts Exhibition, the Maeil Daily Press, 1993. (Won the award of the sponsor.)

The Beautiful Seoul" Exhibition Commemorating the 6th Centennial of Seoul at the Seoul Munipal Arts Center, 1993,

The Japanese International Fine Arts Exhibition, Tokyo, 1994.

The Korean Artists' Exhibition at Ulan Bator, 1994. Invied by the Mongolian Government.

The 50th Anniversary Exhibition, E Wha Women's University, 1995,

The Seoul Sam Saek (Three Colors) Exhibition, 1995,

The 17th Korea H. M. A, Association Exhibition-The lnternational Arts Exhibition of the

Award-Winning Painters under the International Exchange Program, 1996.

The Contemporary Women Artists' Exhibition, 1996.

The Arts Exhibition for Charity at Taegu, 1996.

The 28th International Exhibition 0f the Japanese Academy of Fine Arts, Tokyo, 1996.

(Won the Gold Medal)

A Yeon Association Exhibition. 1994. 1997.

The Mook Jae Exhibition, 1997.

The Reverend Han Kyong Jik Memorial Exhibition, 1997.

The Korean Contemporary Paintings Exhibition in Roumania, 1997.

Invied by the Roumanian Government.

The 18th Korean H. M. A, Association Exhibition: Co-Sponsored by the Japanes Academy of Fine Arts, 1997.

The Turkey-Korean Contemporary Arts Exhibition, 1997,

Invited by the Turkish Government,

The Exhibition of Noted Contemporary Artists, 1997.

Included in The Encyclopedia of Techniques 0f Contemporary Korean paintings,

seoul: Yehlim Publisher, 1997,

The 29th International Exhibition 0f the japanese Academy of Fine Arts, Tokyo, 1997

(Won the Special Award.)

lncluded in the Korean Art Annual, Seoul: Hankook Misul Yeongamsa, 1997.

The New Art Festival of the Invited Painters. l997, 1998.

the Exhibiton for the Spirit and Evaluation of Mook (Black Ink), 1998.

The 19th Korean H. M. A. Association Exhibition: Korean-japanese Exchange Exhibition,

Co-sponsored with the Japanes Academy of Fine Arts, 1998,

The Seoul New Salon Exhibition, l998

The Korean Fine Arts Association Exhibition, 1994, 1995, 1996, 1997, 1998.

Included in the Book, The Spirit of Korean Fine Arts, Seoul: Atelie-Sa, 1998,

The Seoul Grand Pallas Exhibition, 1998.

The Gallery Art Fair of 1998

The Vietnam-Korean Exhibition, 1999. Invied by the Vietnames Consulate General in Seoul.

The New Millenium Exhibition: The World Famous Artist lnvitational Show.

at the Cho Hyung Callery, 1999.

Participated in other exhibitions held in the United States, Japan, China, lndia, Arabia, Mongolia, and Uzbekistan.

Korean art is characterized by transitions in the main religions at the time: early Korean shamanist art, then Korean Buddhist art and Korean Confucian art, through the various forms of Western arts in the 20th century.

Art works in metal, jade, bamboo and textiles have had a limited resurgence. The South Korean government has tried to encourage the maintenance of cultural continuity by awards, and by scholarships for younger students in rarer Korean art forms.

A Korean traditional painting by a contemporary artist.Korean calligraphy is seen as an art where brush-strokes reveal the artist's personality enhancing the subject matter that is painted. This art form represents the apogee of Korean Confucian art. Korean fabric arts have a long history, and include Korean embroidery used in costumes and screenwork; Korean knots as best represented in the work of Choe Eun-sun, used in costumes and as wall-decorations; and lesser known weaving skills as indicated below in rarer arts. There is no real tradition of Korean carpets or rugs, although saddle blankets and saddle covers were made from naturally dyed wool, and are extremely rare. Imperial dragon carpets, tiger rugs for judges or magistrates or generals, and smaller chair-covers were imported from China and are traditionally in either yellow or red. Few if any imperial carpets remain. Village rug weavers do not exist.

Abstract art uses a visual language ofform, color and line to create a composition which may exist with a degree of independence from visual references in the world. Western art had been, from the Renaissance up to the middle of the 19th century, underpinned by the logic of perspective and an attempt to reproduce an illusion of visible reality. The arts of cultures other than the European had become accessible and showed alternative ways of describing visual experience to the artist. By the end of the 19th century many artists felt a need to create a new kind of art which would encompass the fundamental changes taking place in technology, science and philosophy. The sources from which individual artists drew their theoretical arguments were diverse, and reflected the social and intellectual preoccupations in all areas of Western culture at that time.

Abstract art, nonfigurative art,nonobjective art, and nonrepresentational art are loosely related terms. They are similar, although perhaps not of identical meaning. Abstraction indicates a departure from reality in depiction of imagery in art. This departure from accurate representation can be only slight, or it can be partial, or it can be complete. Abstraction exists along a continuum. Even art that aims for verisimilitude of the highest degree can be said to be abstract, at least theoretically, since perfect representation is likely to be exceedingly elusive. Artwork which takes liberties, altering for instance color and form in ways that are conspicuous, can be said to be partially abstract. Total abstraction bears no trace of any reference to anything recognizable. In geometric abstraction, for instance, one is unlikely to find references to naturalistic entities. Figurative art and total abstraction are almost mutually exclusive. But figurative and representational (or realistic) art often contains partial abstraction.

Both geometric abstraction and lyrical abstraction are often totally abstract. Among the very numerous art movements that embody partial abstraction would be for instance fauvism in which color is conspicuously and deliberately altered vis-a-vis reality, and cubism, which blatantly alters the forms of the real life entities depicted. A commonly held idea is that pluralism characterizes art at the beginning of the 21st century. There is no consensus, nor need there be, as to a representative style of the age. There is an anything goes attitude that prevails; an "everything going on", and consequently "nothing going on" syndrome; this creates an aesthetic traffic jam with no firm and clear direction and with every lane on the artistic superhighway filled to capacity. Consequently magnificent and important works of art continue to be made albeit in a wide variety of styles and aesthetic temperaments, the marketplace being left to judge merit.

Digital art, computer art, internet art, hard-edge painting, geometric abstraction, appropriation, hyperrealism, photorealism, expressionism, minimalism, lyrical abstraction, pop art, op art, abstract expressionism, color field painting, monochrome painting, neo-expressionism, collage, decollage, intermedia, assemblage, digital painting, postmodern art, neo-Dada painting, shaped canvas painting, environmental mural painting, graffiti, figure painting, landscape painting, portrait painting, are a few continuing and current directions at the beginning of the 21st century.

Into the 21st century abstraction remains very much in view, its main themes: the transcendental, the contemplative and the timeless are exempified by Barnett Newman, John McLaughlin, and Agnes Martin as well as younger living artists. Art as Object as seen in the Minimalist sculpture of Donald Judd and the paintings of Frank Stella are still seen today in newer permutations. The poetic, Lyrical Abstraction and the sensuous use of color seen in the work of painters as diverse as Robert Motherwell, Patrick Heron, Kenneth Noland, Sam Francis, Cy Twombly, Richard Diebenkorn, Helen Frankenthaler, Joan Mitchell, among others. There was a resurgence after the war and into the 1950s of the figurative, as neo-Dada, fluxus, happening, conceptual art, neo-expressionism, installation art, performance art, video art and pop art have come to signify the age of consumerism. The distinction between abstract and figurative art has, over the last twenty years, become less defined leaving a wider range of ideas for all artists.

Korean paper art includes all manner of hand-made paper (hanji), used for architectural purposes (window screens, floor covering), for printing, artwork, and the Korean folded arts (paper fans, paper figures), and as well Korean paper clothing which has an annual fashion show in Jeonju city attracting world attention.

In the 1960s Korean paper made from mulberry roots was discovered when the Pulguksa (temple) complex in Gyeongju was remodelled. The date on the Buddhist documents converts to a western calendar date of 751, and indicated that indeed the oft quoted claim that Korean paper can last a thousand years was proved irrevocably. However after repeated invasions, very little early Korean paper art exists. Contemporary paper artists are very active.

Contemporary Korean painting demands an understanding of Korean ceramics and Korean pottery as the glazes used in these works and the textures of the glazes make Korean art more in the tradition of ceramic art, than of western painterly traditions, even if the subjects appear to be of western origin. Brush-strokes as well are far more important than they are to the western artist; paintings are judged on brush-strokes more often than pure technique

No mom could be more wonderful then you in any way, Because of all the loving care you show from day to day. A day that you spend doing all the things you'd like to do.

Mother, you have a wonderful way of making each day brighter, And any moment shared with you makes the heart a little lighter- You're always around when needed to show how much you care. And that is why it means so much just knowing that you're there.

Sungwook Kim