● 위 이미지를 클릭하면 네오룩 아카이브 Vol.20190302e | 김은진展으로 갑니다.
초대일시 / 2019_1222_일요일_05:00pm
기획 / Joel Carreiro 주최 / Hunter College Ceramic department
관람시간 / 11:00am~06:00pm(예약제)
Thomas Hunter Projects 930 Lexington Ave, New York, NY10065
In a period dominated by social media, advertising and "influencers", a constant focus on the immediate and the momentary threatens to reduce humanity to apathetic consumers with brief attention spans and shallow values. Art can function to combat this depletion; slow us down, reintroduce depth and complexity - and feed the inner life.
Recent works by Eun Jin Kim resist easy categorization and consumption, instead proposing uneasy alliances of painting and ceramic elements emblematic of the merging of disparate possibilities. Her combinations are playful and sometimes mysterious - a painting quotation from Andrea Solario in saturated reds coexists with a ceramic baguette seemingly borrowed from Rene Magritte. The active engagement of the viewer is solicited to imagine, interpret and posit relationships between these elements. Market researched meanings and algorithms are not provided. Instead fluid visual metaphors conjure unknown worlds, offer glimpses of realms just beyond our senses, propose that things could be otherwise. Associational mean-ing and dream logic govern the marriage of lush painting passages from an imaginary realm and ceramic representatives from the land of the sensory. ● The seemingly inconsistent and incongruent are seen to be portals to possibility when seen through a glass brightly. ■ Joel Carreiro
Through a glass brightly - The world, seen through a bright glass, is colorful but also incomplete. ● According to the King James Version of the Bible, in 1 Corinthians 13:12, Paul wrote, "For now we see through a glass darkly1)", some thoughts about the phrase led me to the title of this exhibition. It mention that our vision is incomplete and ambiguous, and with God in the future we will see and know fully. The reflection in the dark glass represents the indirect and uncertain vision of humankind. This verse also2) influenced me throughout times. Besides my own little and partial limitations of vision, in recent years, I have experienced the distortion of sight due to ocular mi-graines. When it happens, my sight went on distortion 10 to 20 minutes, showing flashing lights and zigzag lines and then it get back to reality. It led me doubt about my own sights and questions about 'seeing'. -'What do I see really?', 'what means seeing?' , 'what it means that one day, one sees completely?'- ● I try and deal with this phrase "(see) through a glass darkly" with slightly light and playful approach through my works.
As we all have imperfect visions, It is fun to imagine the world seen through the perspectives of various objects and animals, material and body. What is it like to see through the eyes of birds, through the eyes of bread, through music, through paintings? Continuing the imagination by changing from one's perspective to another (or to perception) has become a motif of this exhibition. I focused on a less grandiose but more bright funny view of imagination, expressed through the interplay of painting and ceramics.
If painting draws a landscape of imagined sensations, the ceramic extends to tactile sensory realm. They produce a new territory of sensation through reliance. Though their dependence shows the deficient meaning in their own, but they depend on each other to derive possible new vague meanings. ● The painting's soft or rough emotions, space of light, and mystery are a lit-tle contrasting to the obvious, tangible and hard surface of ceramics. ● In the combination of painting and ceramics, there is a sense of empirical, vague perception. The expression of reliance can serve as a method which delivers experiential perception beyond the fixed meaning or subject by altering sensations in paintings and ceramics.3) ■ Eun Jin Kim
* footnote 1) Enire phrase is "For now we see in a mirror, darkly, but then face to face. Now I know in part, but then I shall know just as I also am known." 2) The phrase has been quoted in a variety of works of art, including novels and poetry plays, and is particularly well known for being quoted as a movie title by Ingma Bergman in 1961. In Bergman's film Through a glass darkly, four characters show a mirror-like relationship with each other, revealing insights into the behavior and psychology of others. The film shows their relationship with God in their different forms. (The main character, Karin, who thinks God is in her body, her brother Minus who feels God with Karin, her husband Martin, who loves her but does not believe in her god, his father, David who discovers God at the moment of suicide at-tempts.) Through the expression of relationship of characters, the movie reflects on the rela-tionship between God and man from various angles. 3) For example, "Let 's go Jean val-Jean" is based on a painting by Andrea Solario (Milan, c. 1465-1524), Madonna of the Green Cushion, which contains breastfeeding Virgin Mary. Without baby jesus, the appearance of breastfeeding lost its holy meaning but still suggest the sacred. The ba-guette bread combined with this is a relatively clear, protruding, childish imitation of reality which makes contrast with the sacred action of breast feeding. Eventually, I wanted to explore the sublime interplay with some childish, dull, stupidity.
Vol.20191222c | 김은진展 / KIMEUNJIN / 金銀珍 / painting.sculpture