Sculpture in 2D

Kim Young-Hee—Sculpture 2D. Very Korean. Very European. Very Universal. Collector’s Edition

Kim Young-hee’s most recent work illustrates enigmatic, vivid sculptural compositions in the form of pictures.

Marrying Western and Korean culture in her art, Kim Young-hee brings a theatrical energy to her pieces by constructing elaborate, vibrant scenes where the boundaries of observer and observed are contested.  After spending a considerable amount of time with her now deceased husband in Munich, Ms. Kim expresses her fascination and bewilderment upon witnessing the rapid urbanization and Americanization of her home country—themes strongly explicated in her latest work.  Kim uses mulberry paper, a staple of Korean folk art, to construct stunning, eye-popping scenarios where figurines stand in awe of glass skyscrapers and mega-tall apartment buildings. Born in 1944 in Kyongju, Korea and a graduate of prestigious Hongik Art University, Kim Young-hee’s rich career has spanned numerous decades and she currently spends her time between Korea and Germany. Kim Young-hee channels her trauma of experiencing the extreme transformations of her native land in her glittery, beautiful art that ultimately brings a sense of loneliness and confusion.

In celebration of her recent exhibition at Gallery Hyundai in Seoul, Theme has partnered with Rupa Publishing to offer our readers a special limited collector’s edition of Kim Young-Hee—Sculpture 2D. Very Korean. Very European. Very Universal. at a discounted price of 700 euro (normal price is 775 euro). In addition to the book, a strictly limited edition of 100 signed and numbered C-Prints are released in a top-quality designed linen box for the collector’s edition. Buyers have a choice of over 60 images. Please email for more information.

The stills from your new book feature the modernized cityscapes of urban Korea.  Why the strong emphasis on setting in your new work?
When I visited Korea following my ten-year stay in Germany, I was shocked by what I saw.  Very strong changes happened during that period.  Due to globalization, a rather fine and traditionally characterized landscape had rapidly become a faceless image with no identity.  Dealing with these processes influenced me very much, and I try to express this process in my works of art.

How has a modernized, urbanized Korea impacted your perceptions of Korean culture?  What does your work speak about this topic?
A Westernized and Americanized lifestyle speaks as an expression of a mental change.  Although the present situation is sometimes embarrassing under such circumstances, I am still won by and have accepted Korea as my dear homeland.

Your work is vibrant and vivid with bright colors reflecting the energy of modern Korea.  How has color operated in your present and past works, and how has your use of color evolved during your career?
In my education, I characterize my art style in two ways—the very colorful, folkloric aristocratic and black-and-white technology as we know from ink drawings.  Against this background, the neon colors of postmodern urbanism are presented.

Your work is often characterized as a marriage of Korean and Western art.  What elements are expressed in your latest art to portray the dialogue between cultures?
When combined, Western and traditional Korean art shows me a wonderful composition, a new artistic style.  In my eyes, so to speak, the dialogue may be forced but it’s harmonized; harmony remains a very significant factor in Korean philosophy.

This new series seems less focused on the dichotomy of east and west.  Rather, it accentuates tradition and modernity.  What does tradition mean to you?  And do you believe tradition holds a strong influence in contemporary Korea?
Tradition and modernity are always two rails but one track that a train runs on.  And the influence is, despite everything, still strongly felt.

Why are the faces of the characters featured in your new series hidden from the viewer?
Through this kind of view, I wanted my characters in the same angle as the viewer.

Despite not being able to see the faces of the figurines in your work, their body language suggests that they are in awe of their surroundings.  Who do these figurines represent, and what role do they play in your photographs?
The characters are partly personal.  Sometimes self-portraits, perhaps.

What moves you to utilize everyday, craft objects in your art?
For me, crafts require a deeper process as an abstract picture.  On one hand, the more time and energy expended brings the sculptor closer to the object, while the intensive work-process on the other hand is truly illuminating about the nature of the created object.

How has your experience in Munich complicated your perceptions of culture and identity?
Yes, in fact, the initial culture shock had been large.  But in Munich, I have ultimately found even more in my identity.  The view from the outside also tends to reveal more.  This, I feel, is a great enrichment.