Process of Creation of artworks from woodcarving in “Form” and “Mind” Project

Abstract

The creative work “Body and Mind” aims to explore the structural relationship between the “body” and the “mind” as fundamental dimensions of human existence. The objectives of this study were: 1) to examine the relationship between “form and mind” (body and consciousness) as a binding force that gives rise to attachment and confinement 2) to express the conditions of attachment and inner freedom of the spirit through artistic processes and 3) to analyze the creation of artworks using woodcut carving and ink-printing techniques. This study employed a Creative Research methodology, drawing upon Maslow’s Theory of Motivation, Adler’s Theory of Individual Expression, and Comte’s Theory of Social Structure as analytical frameworks. The findings reveal that “form,” or the physical structure of the body, functions both as a dwelling place and as a prison for “mind,” the psychological state conditioned and shaped by accumulated experiences. These two states persist under forces of attachment and constraint that limit the inner freedom of the spirit. Although the mind is inherently free, it becomes bound by desire, insatiable hunger, and accumulated experiences resulting in suppression and, at times, intense reactions. Meanwhile, the human body, as a physical form composed of biological elements, functions both as a dwelling and a prison for the mind. This dual role creates the illusion that body and mind are inseparable, even though, by nature, they may be distinct. The human mind perceives and constructs experience through the five senses sight, hearing, smell, taste, and touch. Yet perception is never neutral; it is shaped and conditioned by prior emotions and lived experiences unique to each individual. These imprints become deeply embedded, leading to attachment, obscurity, and an inability to attain true inner freedom. Furthermore, as social beings, humans are inevitably entangled within relationships and cultural structures, which further diminish the possibility of absolute mental liberation. In the creative process, wood is chosen as the primary material due to its organic, living quality and natural growth. The varying densities within the wood are engaged through carving, scraping, incising, and the application of ink onto its surface. These processes reveal traces of erosion and abrasion symbolizing pressure, attachment, and the constraints that bind body and mind. The work is ultimately expressed through two-dimensional painting. In the end, this work reflects a paradox: although the human mind possesses the potential for complete freedom, it continues to cling to the body, the self, and social constructs. As a result, it remains unable to transcend the very constraints it has created, and thus cannot fully realize its true state of liberation.  The findings of this study indicate that the body represents the tangible structure that serves both as the dwelling place and the physical boundary of human existence, while the mind represents the inner force of perception, thought, emotion, and the construction of meaning in life. Although the body and the mind possess fundamentally different natures, they are inseparably interconnected through lived experience, attachment, and social contexts. Accordingly, the creative artwork portrays the body as a symbol of bondage and the mind as a symbol of the continual pursuit of freedom, reflecting the fundamental reality of human existence that individuals inevitably encounter throughout their lives.