Hello, Kinida!

It's amazing to see how far your artistic journey has taken you. Your work has truly blossomed in the past couple of years, which has resulted in a mature, transformative, and unique artistic path.

D: I'm really interested to learn more about you and your background. Can you tell us a little bit more about yourself, how you get started on your creative journey, and what have been some of the biggest influences on your work?

K: Some of my biggest influences have been trying to navigate all the sensations that align my path on a daily basis, trying my best to notice every detail from human to human, nature to nature, things to things (or in any other order) interaction from exterior to interior and interior to exterior.

I think the first creative journey I remember taking on my own was when I brought in drawings as my answer for homework. I felt embarrassed, but as I grew, I learned to accept that it’s okay to think how you want to think.

D: Can you tell us a bit more about your roots and how they shape your music?

K: With Western culture’s influence on the world, I feel like my traditions are slowly evaporating, foreshadowed by mainstream culture. It’s important for me to flip through my archive and continue to water my roots and embrace them with my own modifications to make them relevant for myself and my culture. They are my original teachers to my flower; I would no longer be this flower if I didn’t have my roots. Awake or asleep, these internal dialogues become a surreal expressionism.

Through this journey rooted from my ancestors to my present, I have been learning a lot about the art of self and how to execute it. I am still on this long journey to be taught. Only after this lifetime will I be able to teach. Therefore, it is one of my missions to pave the right path for the art I am approaching.

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D: New York seems to play an important role in your videos. How does "NYC" as both a city and aesthetic concept influence your art?

K: A decade of experiences in NYC has taught me so much. I accept every moment. More than locations, I feel more influenced by experiences. Locations just feel like a giant blank room, and experiences feel like all the decorations.

D: Can you tell us about your relationship with fashion and how it fits into your artistic practice?

I think building a world around your art gives it the power to flourish on its own. It becomes easier to decorate without having to guide the audience to a meaning, and there’s something so beautiful about that space I want to continue to explore.

D: Can you tell us more about the "Yensesori" project and what being a "color artist" is all about?

The Yensesori passion project started with my collective of trio called Yensesori, which means color ({yense}) sound ({sori}) in Mandarin and Korean. Being a color artist to me is appreciating all colors, not just the colors we know, but the colors we sense.

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D: I feel like your work has really evolved throughout the years into a more mature, self-assured version of itself. Tell me about this evolution and also at what stage do you think you are at right now.

K: Thank you so much; I appreciate it! It has been and still feels like a plastic bag floating in any direction the wind takes it!

Right now, it feels like a merging of all elements, like all the lights that reflect off metal!