ABOUT ME
Kim Soyoung is an artist primarily based in Seoul. She views the spaces in her paintings as realms where time loops endlessly, creating image-narratives by placing visuals sourced from various references within these set spaces. She is also interested in transforming sentences from poetry into images or visualizing collected stories. Recently, she has been working on setting up fictional novels and creating paintings from the perspective of the narrator within these stories.
Kim held her first solo exhibition at Hosi Gallery(Tokyo) in 2009 and solely represented at Gallery175(Seoul) in 2016, and Onsu Gonggan(Seoul) in 2022 and Tenjinyama Art Studio(Sapporo), Gallery Meme(Seoul) in 2023. Kim also has been shown in various institutions such as Arp Museum(Germany), Waley Art(Taipei), Art Sonje Center, Il Min Museum (Seoul) and more. Kim participated in the artist-in-residence program of Goyang Residency run by the National Museum of Modern and Contemporary Art, Korea in 2018.
Statement
The Struggle of Objects in the Recurring Space of the Present and the Bundle of Scenes It Creates
I translate the collected texts into images, or collage images from different sources to create an "event space" on the screen. The event space represents an organic interplay of events and space, formed by capturing the narrative that emerges from the spatial elements—such as the size and position of the images—and their interactions, and subsequently reshaping the space. Higher dimensional elements that enter the plane are destroyed. In the case of time, it's even more devastating. Omitting time from the narrative leads to a blurring of cause and effect. The flatness of the plane becomes a ruthless constraint. Yet it can also serve as a sanctuary, liberating from the constraints of time and gravity My goal is to harness this condition in order to craft a narrative that perpetually revolves without a starting point or conclusion, a narrative that accumulates endlessly, culminating into a scene. My work predominantly explores psychological mythology within the context of a dystopian future or on a planet with a unique environment. I use the expressive trajectory of paint to flexibly set the initial space or to transition and merge spaces. Traces of paint, scattered or crushed, dripping or smearing, give movement and speed to the space, or serve to ventilate the atmosphere and reorganize the space. Events such as the sudden appearance of a higher power or a luminescence are emphasized through the use of fluorescent colors, which are also used as light sources to delimit space or control the flow of the eye. Although cutting-edge technology is reshaping the art landscape, I maintain a belief that certain possibilities can still be unlocked on a two-dimensional canvas. It conveys a multisensory landscape of complexity that cannot be broken down by language, and then waits for the activation of inert events that are latent. Because constraints also create elasticity.
Publications
자음과 모음, 2019 여름 호. p.235 -241 네 번째 가설