YOUNG-MI KIM

 

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Drawing or painting using conventional techniques often results in traditional canvases. The works born in this way can only be viewed in a one-dimensional, flat way.

My desire to surpass these traditional processes has led me for a few years to study, then resort to different techniques. A recurring process is to use my bare hands to put the colors, avoiding the brushes. This way of proceeding evokes regressive physical properties and inscribes the gesture of painting in four dimensions.

Further on, a work that moves from various angles brings to mind the mobile art "Moving Art", by assembling and then projecting the images on a disc that could be called "pictorial art in four dimensions"

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The repeating lines of the body give the illusion of several superimposed looks that set these works in motion.

This technique breathes life into the shapeless; it gives it several possible forms.

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As with Orlan’s ever-changing visual “Techno Body”, here we are faced with a constantly changing gaze that helps to follow the movement of light.

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It is about a vision of the human body: if the surgical technique allowed Orlan for more than 50 years its experimental performances, my work evokes my body (inherited from my mother) with all its defects, like this cyst that we had to kidnap me.

Of course, the body is the other; it involves the mother and oneself.

It’s an act that unleashes memories of my mother and the pain of not being able to "connect" with the next generation.

At the same time, these are intimate and tragic works, reflecting both an aesthetic research on the body that I have been carrying out for thirty years and (for ten years) the history of my family.

My prospective diary is made up of images. For Ulrich Beck, a disaster is not limited to a country; my paintings now tell the story of my family. As I approach my sixties, I cannot let go of this bond. The process of reading the physical properties and sufferings of the body is very diverse.

 

Young-Mi KIM

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