Billowing, like rainbow-hued clouds, the fabrics that Kim Young-Nam dyes by hand look so heavenly that they evoke a supernatural sensation. But while they may suggest something celestial is materializing, they are in reality the result of Kim’s hard work.
An artist known for her beautiful hand-dyed textiles, Kim expresses her unique style of creativity through a method called eco-printing. Extremely detail-oriented, she is exacting in her work and it is her precision that gives birth to such divine art.
The International Examiner had the opportunity to interview Kim over email. An exhibit of her work, titled “Nature Onto Silk: Korean Eco-Print Master Artist Kim Young-Nam” is on view at the Asian Pacific Cultural Center’s Jade Choe Gallery through June 27.
Yayoi Lena Winfrey: Where are you from?
Kim Young-Nam: I was born in Mok-ri, Mujang-myeon, Gochang-gun, Jeonbuk State, South Korea, as the third daughter among five children—two sons and three daughters. I grew up in a warm and loving family, receiving abundant affection from my father who strongly valued education. As an adult, I married my husband, Kim Young-mok, who is a teacher, and we have continued to live in my hometown.
YLW: When did you decide to become an artist?
KYN: One day, I attended a lecture by a women’s studies scholar titled “Lifelong Learning: Preparing for the Future.” Her message—that education is a lifelong journey—deeply resonated with me and inspired me to continue learning.
While pursuing my studies later in life, I became captivated by the humble yet elegant beauty of natural colors that could never be achieved with synthetic dyes. This fascination led me to begin studying natural dyeing.
As a graduate student specializing in natural dyeing, I had the great fortune of studying under Master Jeong Gwan-chae, a National Intangible Cultural Heritage Holder in traditional dyeing. I completed his apprenticeship in traditional indigo dyeing and, in 2017, was officially recognized as a Certified Successor of Korea’s National Intangible Cultural Heritage Dyeing Tradition.
Becoming a certified successor required mastering every stage of the process—from planting indigo seeds, cultivating the plants, extracting pigments, reducing the dye and dyeing fabrics, to participating in workshops and completing an intensive apprenticeship under the cultural heritage master. After passing a rigorous national evaluation, I received official certification from the Korean government.
Building upon this foundation, winning my first art competition while I was still a student marked the true beginning of my career as an artist.
YLW: Did you ever dream of pursuing a different career?
KYN: As a young girl, I dreamed of becoming a home economics teacher at a middle school. Marrying my husband, who became a teacher, gave me great satisfaction because he was living the profession I had once admired. Today, I also teach at a university. So, in many ways, that childhood dream has come true.
YLW: What inspired you to work with textiles and natural dyeing?
KYN: The foundation of traditional indigo dyeing begins with the indigo plant itself.
Among all natural dyes, indigo possesses an almost indescribable mystery. The Korean expressions “indigo sky” and “indigo sea” originate from this remarkable plant, whose leaves contain a compound called indican that produces the beautiful natural pigment known as indigo blue.
In spring, indigo seeds are planted. By summer, the plants grow to about 70–80 centimeters tall and are harvested. The leaves are submerged in water inside large earthenware jars, where they ferment for one or two days until the water gradually turns a beautiful ocean-blue color.
After removing the leaves, ash made from burned seashells is added and stirred into the liquid, creating vivid waves of deep blue dye. When left undisturbed, the lime settles together with the indigo pigment forming a sediment called Niram (泥藍).
Ash from burned soybean stalks is then mixed with water to create lye, which is combined with the Niram in another earthenware jar. Sugar is added as food for the microorganisms during fermentation while maintaining a temperature above 30°C (86°F). After seven to thirty days, the lime separates from the pigment, bubbles begin to form and the liquid changes to a green color—signaling that it is finally ready for dyeing.
Although the dye bath appears green, once the fabric is removed and exposed to oxygen, the true indigo blue gradually emerges. The fabric is repeatedly immersed and oxidized over several days, allowing a wide range of colors to develop—from the pale blue of the daytime sky to the rich, deep blue of a midnight sky.
YLW: What is the difference between eco-printing and traditional printing?
KYN: Eco-printing is an environmentally friendly dyeing technique in which the natural shapes and pigments of leaves, flowers, stems and other plants are directly transferred onto fabric or paper. It preserves the unique colors and forms found in nature, creating one-of-a-kind patterns while recording the traces of nature and the passage of time within the artwork.
As a creative meeting point between nature and art, eco-printing has become an important contemporary practice in natural dyeing and textile arts.
Traditional printing refers to historical methods of transferring designs, patterns, or text onto textiles or paper using carved woodblocks, metal plates, stencil papers and other traditional tools.
In Korea, traditional printing evolved through techniques such as woodblock printing, ink rubbings, stencil resist dyeing and decorative pattern stamping. These methods have long been used to embellish textiles and traditional garments.
Today, traditional printing techniques are often combined with natural dyeing and eco printing, creating new artistic possibilities while preserving traditional craftsmanship.
YLW: Why is it important to preserve this art form and share it with both Koreans and others around the world?
KYN: Eco-printing is an art form that transfers the colors and forms of plants directly onto textiles, visually expressing the relationship between humanity and nature. More than simply a dyeing technique, it has evolved into a contemporary textile art that embodies the vitality of nature, the changing seasons and the cultural identity of a region.
Because it uses nature as its universal language, eco-printing is an art form that can resonate with people across cultures.
Works inspired by Korea’s natural landscapes and traditional culture can introduce the beauty of Korean heritage to international audiences through exhibitions and workshops, serving as meaningful bridges for cultural exchange.
YLW: Your hands are visibly stained In photographs showing you at work.
KYN: The stains on my hands come from indigo dyeing.
Traditional indigo dye is produced through the natural fermentation of Niram and alkaline lye. Because it is made entirely from natural materials, the blue stains that remain on my hands and fingernails gradually fade away through ordinary daily activities over time.
YLW: How does it feel to exhibit your work at the Asia Pacific Cultural Center (APCC)?
KYN: This exhibition at the Asia Pacific Cultural Center in Tacoma is much more than simply displaying artwork. It becomes a meaningful opportunity to share the value of Korean traditional culture and natural dyeing with people from around the world.
Through works featuring natural dyeing, eco-printing and traditional Korean garments, I am able to introduce the beauty of Korea’s natural colors, cultural heritage and artistic traditions to an international audience.
One of the most rewarding aspects of the exhibition is realizing that Korean traditional culture has the power to move people beyond national boundaries. Watching visitors study my work with curiosity and ask thoughtful questions reminds me that art transcends language and enables genuine human connection.
The exhibition also reaffirms that traditional natural dyeing is not merely an ancient craft, but a living art form that continues to resonate with contemporary audiences.
YLW: What have you gained from this experience?
KYN: First, I witnessed that Korean natural dyeing, Jogakbo patchwork, and traditional costumes possess artistic value that is appreciated internationally.
Second, I am reminded that art serves as a bridge connecting people from different cultures and backgrounds, highlighting the importance of cultural exchange.
Third, I have become even more convinced that traditional dyeing and eco-printing can be successfully integrated into contemporary art and design, opening new possibilities for artistic expression and creative products.
Finally, this experience strengthens my sense of responsibility to preserve the traditional techniques of Korea’s National Intangible Cultural Heritage and pass them on to future generations.
YLW: What do you hope visitors take away from this exhibit?
KYN: I hope visitors leave this exhibition with more than an appreciation for the artworks themselves. I hope they carry with them a deeper understanding of the beauty and value of both nature and tradition.
Within each work of natural dyeing and eco-printing are the colors created by nature, the traces of time and the spirit of Korean cultural heritage. I hope viewers will be inspired to reflect on the preciousness of nature and the importance of living in harmony with it.
I also hope they discover that Korean traditional culture is not simply a legacy of the past, but a living tradition that continues to evolve through contemporary artistic expression. Above all, I hope they experience tradition as something vibrant, meaningful and alive today.
If you go: Nature Onto Silk: Korean Eco-Print Master Artist Kim Young-Nam at the Asia Pacific Cultural Center, Jade Choe Gallery, May 7 – June 27, 2026.
