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16/3/2007

Minjung Kim

Leslie Sacks Fine Art, Los Angeles

Void in Fullness

Minjung Kim was born in 1962 in Gwangju, South Korea, and currently lives and works in Italy. Kim's first solo museum show outside of Korea was held in the summer of 2003 at the Museo Comunale d'Art Moderna Ascona, Switzerland. This event followed on the 2002 publication of Antonio d'Avossa's Skira monograph, Minjung Kim. Kim's works are held in the public collections of the Bibliothèque Nationale, Paris and the Bibliothèque Municipale, Colmar, France, the Societe Banche Svizzere Collection, London, England, and the Museo Comunale d'Art Moderna Ascona, Switzerland. Kim's first solo museum exhibition was held in 1991 at the Injae Art Museum, Gwangju, Korea.

Her works have also been exhibited at the Hong Ik and Kwanhoon museums, Seoul, and the National Museum of Modern Art, Kwachun. Minjung Kim holds an MFA from Hong Ik University where she mastered the both the refinements of classical East Asian painting and the fundamentals of classical Western art. Beginning in 1991, Kim attended the Brera Academy, Milan, Italy, where she studied the work of modern European artists. Minjung Kim's art is primarily concerned with the expression of ghee (chi in Chinese, ki in Japanese: life force) through a synthesis of Eastern and Western forms and techniques, and those of her own invention, i.e., making images with fire.

With her arrival at the Brera Academy and Bottarelli's school, Minjung Kim revised- not repudiated - her relationship with visible nature. Placing emphasis on the contribution made by marks and materials, Minjung Kim animated her landscapes - always produced on paper panels - and transformed them into large curled surfaces in which one is able to recognize waves and rocks. In another series of works, she made close-up studies of flowers, reducing them to pools of color diluted with water.
Giacomo Agosti, Minjung Kim, Milan, 1995

In her most recent work Minjung Kim creates chrysanthemum like rosettes via collage, using a candle flame to shape colored rice paper rings: "…that once concentrically laid one upon the other, generate chronological tunnels or ploughs which make it possible to perceive and cross the transience of time…Furthermore, time has a suggestive possibility of representation through the combustion of the paper itself. The fire represents effectively the quick passing of the facts and their going back to the emptiness".
Roberto Borghi, curator of Event: Process of Artwork by Minjung Kim at the Museo Comunale d'Arte Moderna Ascona, Switzerland, July 13 – August 31, 2003

The pyrotechnic system of the image used by Minjung Kim renders the energy of the fire visible in natural images of fire roses, flaming flowers, biological thermal forms, cosmic constellations, galaxies of paper and fire, the small celestial fruits of a hanging garden; they are empty pools in the centre and at the edges of a map of the sidereal spaces of painting… the most surprising aspect to be seen in this analytical correspondence lies in a form of paintings produced without traditional tools – brush and ink – and, at the same time, without the matter that forms it. The invisible flame and the paper which, being burned is only present by its complete absence. It is this extraordinary and expressive capacity of not being, of the Great Absence, attained, discharged, presented and not represented that constitutes the Great Presence in the art of Minjung Kim.
Antonio d'Avossa, Minjung Kim, Skira, Milan, 2002

Leslie Sacks Fine Art
11640 San Vicente Blvd. - Los Angeles

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