| Magic Garden - Preface to the work_Consolation from the scenery | |
Preface to the work- Magic Garden
Preface to the work Consolation from the scenery
Our life is a cycle of circulation. The memories of the past, which settled down as molecules in the air, are absorbed by and coexist in the landscape of life. Humans with a device called "memory" are living every day reminiscing the memories. "I want to be free. I long to go to a freer, open world. If you feel anxious or confused about the absence of a presumed reality, you may already be moving away from freedom. I am now heading towards an open space, step by step for a free spirit.” Kim Jeong Seon's new Kim dreamed. She dreamed of flying, 70 meters above in the sky. The dream lasted until she was 34 years old. The scenery in the artwork is not a surreal abstract space. It is a summoned landscape inherent in childhood memories or a landscape of déjà vu in her daily life and dream. Some of them are a landscape from her flying dream, looking down from above. Moss, ivy, and vines breathe life into the achromatic stone wall. The sky, watermelon leaves, ginkgo trees, streams, passionflowers, and the green trees in the garden all come together to create a peaceful scenery. The essence of nature and objects is captured and expressed through this scenery of memories. Although childhood is short, for Kim, her memories with nature are unforgettable. All the materials featured in the paintings are the mass of memories inherent to the artist's memories, and furthermore, the "gate" leading to the future. Although the paintings seem to be filled with colored surfaces, the artist's work is dominated by dynamic lines rather than surfaces. The patterns and melodies that the positive and negative spaces create, and her lines that seem to express unconsciousness, are sensuous and unique enough to awaken the viewers. The animals in the scenery reflect the painter. As a duck, a cow, a puppy, Kim tries to communicate with the audience. Throughout the conversation in the artist's studio overlooking Mt. Bukhan, Kim used the words 'unconscious' and 'sensual' several times. Yes. Kim Jeong Seon, the artist I know, has never used color calculatingly. She is faithful to her instinct. She is adept at expressing her feelings with color, and her outstanding visual acuity, in particular, made her work much dense and edgy. Through the 2010 This 2021 “It was very difficult to summon the past to overcome my pain, but to live in the present, I had to put the past, present, and future in a straight line,” she says. Perhaps she wanted to express a magical chest of drawers where inside and outside are tied together, and everything leads everywhere. |
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| [Traveler] A new horizon of visual experience and extension of sensation_Yoon, Jin Sup l art critic | |
A new horizon of visual experience and extension of sensation Yoon, Jin Sup l art critic/vice president of AICA
An artist, Jung Seon Kim is best known for hyper-realist. However, she does not describe literally reality on canvas but creates surrealistic landscape by using mono-toned color scheme. Therefore, her painting is not just a question about reproducing of the subject matter but materializing the nature. Likewise, she employs independent technique that is possible of expressing realization of emotion through the nature. For the artist, obtaining original technique of creation is like the life itself and it might sound anachronistically because of such interpretation that is come close to the romanticism. However, reality is a reality. Jung Seon Kim tries to convey flavor of nature that lonely feeling are hanging through delicate description of riverside surrounded by thistle flower and isolated island in a vast ocean. She tires to maximize the unrealistic feeling through using mono tone of spring grass besides thistle flower colored with pinkish. Her shadow series are transmit of nature landscape on screen that have symmetric structure around water. The main subject matter is the shadow of the moon that reflected on the water. The moon on canvas are two but the reflection are described constantly dark. Thereby Jung Seon Kim tried to fill up dreamy feeling. This way, through such surrealistic style, Jung Sun Kim started to show up remarkable sense of existence as an artist.
Sentiment through her earlier works such as shadow series, the masterpiece series and the waterfall series that exciting stream fall down from the air so that the white foam is surging, is desire. Desire comes from lack of something. Her canvas is nothing but the expression that is inexorable about erupting desire but sometimes metaphorical. Masterpiece series satirizes gloomy reality of society that numbers of fakes are widespread. Below the bag that shows the masterpiece label ‘PRADA’, the price ‘29000’ is tagged. The image of city that stand in a row - it reminds the object of hope, New York City. - and the moon is reflecting in a upside down on water. But when you see closely, the moon is reflected upside down on water. It is like there are looking back from each other. What she tries by using irony was reporting the reality. Jung Seon Kim pours out such sharp criticism and it appears on other works that have subject matter of the Louis Vuitton‘s masterpiece. However, those kind of works could not last long and waterfall series are tagged with ‘Allegro e Largo’ which is signs related music. One can assume that her works might reflect her reaction to music since she mostly listens to music when she works on paintings.
The traveler series, which is the main work of this solo exhibition, is telling about Santorini island in Greece that is well known as a romantic and fantastic island. The artist move colors that is close to the real part of landscape by expressing alley, ocean, sky, people that is consist of blue monotone. So to speak, the reality and unreality is coexisting on her canvas. However, it is not unrealistic scene only because it is painted with blue monotone. When people see strong light, they have visual experience that unables to recognize the right color in a moment. The experience enables her to create art works just like main character who kills people because of intense light in Albert Camus’s novel, ‘L’ETRANGER.’
Jung Seon Kim employs such an unique technique in order to convey emotion through her point of view as an artist. Viewers will face the unfamiliar sights of this series that come up shockingly. Jung Seon Kim’s landscape of blue monotone is a landscape that is reinterpreted through the artist’s personal view. For the artist, color of blue is a media that unravels artistic vision on her screen and viewers understand Jung Seon Kim’s artistic sight better because of the color. Jung Seon Kim’s blue monotone painting expands horizon of visual experience and it enables viewers to have abundant emotion through her art. |
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| Autobiography, pictured by shadow-HoonA Lim | |
Autobiography, pictured by shadow Every existence has its own shadow. Shadow is the mate of existence. Contrarily, shadow is the evidence which proves the existence. Shadow as its own image means unrevealed ego, the aspect of dark and damp self. It is too tough to face this kind of shadow because it might carry suffering look into the dark inside. Jungsun Kim’s images play a variation the desires in chorus. Like this, the painter is choosing uneasy way as speaking for the ego in rather confessional and brave way. ‘Cal Gustav Jung’ stated that admitting the shadow, instead of not evading it premises the truth for the ego and eventually could be united to perfect ego not in superficial self. Jungsun Kim reflects on her canvas of the shadow that had been coiled in her mind using the images of plants and those plants and thistles add the depth of inside, reflecting the shadow. -HoonA Lim, A&I;C- |
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| A new horizon of visual experience and extension of sensation-Yoon, Jin Sup | |
A new horizon of visual experience and extension of sensation Yoon, Jin Sup l art critic/vice president of AICA An artist, Jung Seon Kim is best known for hyper-realist. However, she does not describe literally reality on canvas but creates surrealistic landscape by using mono-toned color scheme. Therefore, her painting is not just a question about reproducing of the subject matter but materializing the nature. Likewise, she employs independent technique that is possible of expressing realization of emotion through the nature. For the artist, obtaining original technique of creation is like the life itself and it might sound anachronistically because of such interpretation that is come close to the romanticism. However, reality is a reality. Jung Seon Kim tries to convey flavor of nature that lonely feeling are hanging through delicate description of riverside surrounded by thistle flower and isolated island in a vast ocean. She tires to maximize the unrealistic feeling through using mono tone of spring grass besides thistle flower colored with pinkish. Her shadow series are transmit of nature landscape on screen that have symmetric structure around water. The main subject matter is the shadow of the moon that reflected on the water. The moon on canvas are two but the reflection are described constantly dark. Thereby Jung Seon Kim tried to fill up dreamy feeling. This way, through such surrealistic style, Jung Sun Kim started to show up remarkable sense of existence as an artist. Sentiment through her earlier works such as shadow series, the masterpiece series and the waterfall series that exciting stream fall down from the air so that the white foam is surging, is desire. Desire comes from lack of something. Her canvas is nothing but the expression that is inexorable about erupting desire but sometimes metaphorical. Masterpiece series satirizes gloomy reality of society that numbers of fakes are widespread. Below the bag that shows the masterpiece label ‘PRADA’, the price ‘29000’ is tagged. The image of city that stand in a row - it reminds the object of hope, New York City. - and the moon is reflecting in a upside down on water. But when you see closely, the moon is reflected upside down on water. It is like there are looking back from each other. What she tries by using irony was reporting the reality. Jung Seon Kim pours out such sharp criticism and it appears on other works that have subject matter of the Louis Vuitton‘s masterpiece. However, those kind of works could not last long and waterfall series are tagged with ‘Allegro e Largo’ which is signs related music. One can assume that her works might reflect her reaction to music since she mostly listens to music when she works on paintings. The traveler series, which is the main work of this solo exhibition, is telling about Santorini island in Greece that is well known as a romantic and fantastic island. The artist move colors that is close to the real part of landscape by expressing alley, ocean, sky, people that is consist of blue monotone. So to speak, the reality and unreality is coexisting on her canvas. However, it is not unrealistic scene only because it is painted with blue monotone. When people see strong light, they have visual experience that unables to recognize the right color in a moment. The experience enables her to create art works just like main character who kills people because of intense light in Albert Camus’s novel, ‘L’ETRANGER.’ Jung Seon Kim employs such an unique technique in order to convey emotion through her point of view as an artist. Viewers will face the unfamiliar sights of this series that come up shockingly. Jung Seon Kim’s landscape of blue monotone is a landscape that is reinterpreted through the artist’s personal view. For the artist, color of blue is a media that unravels artistic vision on her screen and viewers understand Jung Seon Kim’s artistic sight better because of the color. Jung Seon Kim’s blue monotone painting expands horizon of visual experience and it enables viewers to have abundant emotion through her art. |
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| The Girl's Dreams in Water-Kim Jong-Geum | |
The Girl's Dreams in Water Jeong-sun Kim is back. She has been at an artist in residence in Masan, and has now returned to Seoul with a bolder and more refined body of work. During her residency, Kim focused her work intensely on a series dealing with water, this work leads the viewer in a silent language within ourselves and into the sublime. Her variegating blue waterfall color scheme reveals the water's overwhelming power and energy that renders one powerless. But where does the energetic force in Kim's work come from? In order to answer that question, one must first understand the artist, just as one gains a better understanding of Renee Magritte's work by referencing his mother's death childhood spent in cemetaries, one must learn more of Kim's personal history in order to better analyze her artwork; "When I was a young girl I almost drowned several times. But, only one drowning experience is probablly enough for water to become a symbol of fear, it became a paralyzing threat. As I struggled against the current, the water transformed into a living,writhing,malicious being pushing and pulling me into a state of panic." In this manner, Kim's childhood memories made her look at water as the edge between life and death rather than an everyday nature source. Ever since her Shadow series, Kim's work contains a sense of traumatized fear taken from small chapters of her childhood experiences. This water phobia is specifically directed towards oceans and rivers. Possibly because they are both large bodies of water with potentially devastating power. She calls her memories as nightmares . Nightmares that are brought back to life into images from her deep dark subconscious. This exemplifies how paintings are the vestiges of pain and trauma, as the horros in a painting all come from the artist's experiences. Within the nightmarish images that hang between life and death are bluish and crimson hues that also bleed together into violet. These are the fleeting instances of the artist's terrors that Kim repeatedly revisits while painting. The irony, that an artist would choose to recreate and relive their most dreaded fears in their own art is utterly paradoxical. However, the idea is to take the painful experiences and overcome them by facing their fears in their art practice, in a determined effort to heal from emotional scars. This is how Kim deals with her childhood trauma; she dredges up her past in the expressive blue waves in her palette and in the plummeting strokes of a waterfall. Through the well-established artistic practice of pouring one's self into their artwork, Kim directly faces her personal obstacles in her various water paintings. Just as Monet expressed his tranquility in his waterlilies of his garden in Giverny, and as Georgia O'Keefe reveals her subliminal self-portrait in her desert landscapes, Kim hides her inner self within the whirlpools of her water pieces. "For humans be it rivers or oceans, something as ordinary as water, is in my opinion a subject of formidable force with terrifying strength." Saying that, it is especially ironic that she fills the picture plane to the brim with water. "Within the water I wanted to overcome my damaged sense of self. I wanted to be free from this self-suppressing habitual fear,"in this respect she is an artist lead by instinct and optimism. Unyielding tidal waves crash across her canvas, tossing and unraveling streaks of red and blue pigment. These painful childhood memories are now captured in a controlled colour palette and subtle shapes and forms that make up detailed expressions of water. As a viewer, one looks at her waves, rivers, and waterfalls without fear or trepidation. Instead one senses the underlying passion. At times this passion is felt in the dimension of the landscape but, it is also felt in the soul poured into every piece. Within these rivers and seascapes there is a journey. A journey of the artist's past is in the turbulent waves of the water. Gradually the menacing waves have evolved into her artistic inspiration and have given her strength. Not so different from the direct manner William Turner painted, as though the viewer was tied up to the front of the boat in the face of violent waves in a winding storm. According to Kim, water is no longer a source of fear and pain. Even though these water paintings illustrate dramatic and turbulent parts of her life, the landscape also describes an over encompassing panoramic representation of her life. Therefore her series entitled, "THIS IS OILE" must be viewed emotionally and not just visually. While the artist may explain in words her memories and scars, all of those elements are already translated into the water and waves In conclusion I must reveal the tired truth of an artist's creative purpose. Within the whirlwind of colours, one can see a hidden portrait holding new dreams and desires, and through the portrait we see ourselves. Is this not the hidden power in Jung-sun Kim's paintings? Kim Jong-Geum, Hongik professor. art critic |
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ARTIST Criticism
