Traditionally, jangpan hanji was the oiled Korean paper used to cover floors. 

I am the originator of Jangpanhwa (火, fire-based) , the lineage that transforms jangpan hanji through fire and heat, drawing on the relationship between ondol and jangpan, and formalizing fire, heat, and abrasion as its core material language. Rooted in the materiality of jangpan hanji, Jangpanhwa may take the form of painting, sculpture, or installation. Its form may expand, but its foundation remains constant: jangpan hanji as both material and origin. 

In Jangpanhwa 長板畫, the character  畫 (hwa) is understood not simply as "painting," but in its expanded sense as an act of making , transforming material, memory, and spirit into form. 

Jangpan hanji is where the mountain's verticality collapses into the horizontality of the earth, its resting place, its terminus. Jangpanhwa is the practice that meets it there and lifts it again: a vertical rising that elevates this humble, ground-bound material through heat, time, and the body's labor, transforming what once lay beneath into traces of ascending form.

Jangpanhwa matters because it takes what was placed beneath the body, walked on, worn down, forgotten, and lifts it into the space of contemporary art. 

What once lay at the floor becomes an image, a form, a site of reflection: material rising from the ground it came from.

장판화. 흙으로부터 바닥으로부터
Jangpanhwa. From the ground

Hannami