Project On Going

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  Beyond 5_1130.3X162.2cm_acrylic, hanji on canvas_2021

  About the world beyond the border perceived between repetition and changeKim Rann Artist Kim Rann presents abstract paintings that fill the screen with countless lines. She sometimes shows screens where lines come and go freely on the entire screen or a divided screen and similar works. She draws lines that look the same at regular intervals as if adding layers to the whole screen. By repeating it repeatedly, it seems, at a glimpse, to be covering up the work done before.However, the space of her canvas filled with layers of lines like this gives some feeling of creating a small universe in itself, perhaps because she draws and erases countless lines and refills them. The screen created by the traces of the lines is approaching where a small piece of established history, containing her actions as if she were working in front of the canvas before it became a painting made with paint.The core expression of her works can be said to be ‘repeated actions.’ However, something perceived as a result is the ‘feeling of change.’ Countless lines may all look the same, but if you look closely, you will find slight differences revealed. However, the space where these differences accumulated continuously is no longer an image but a situation in which it powerfully conveys the substance and meaning that created the ‘movement’ that was latent among the actions of moving to draw lines. She may have entered an experience of being immersed in the work and the action while performing these repeated actions. Perhaps that is why her sense of immersion can be seen everywhere in her works, even though it is the space of heavy abstract paintings. In her works, which seem to contain images of selflessness acquired by repeating the same actions, you may encounter a subtle energy of change beneath the phenomenal visual surface of the seemingly regular canvas.However, you may find these detectable changes at the border between order and disorder. Rather than simply touching up while painting, Kim Rann tries to give temporality to the spaces by revealing phenomenal things and concealing visible stuff beneath the surface, as if by repeating erasing. She aims to summon the world behind material existence into the visible realm by doing so. In this sense, the repeated drawing of lines on the canvas expresses energy that brings the realm of the sublime into the real world, like an act of magic. Because humans exist within the limits of space and time, they cannot legitimately deal with things beyond them.Nevertheless, humans long to be able to see the beyond and want to know about the beyond. The space filled with lines by her contains a story about this unknown time. However, we should now think about what to call and how to interpret the time inscribed in her works under the name of traces. It is because what she wanted to capture was something beyond the boundaries of the human realm. Ultimately, she is trying to share more deeply with others, not just herself, about this world she encountered by allowing us to reach subtle changes between the lines that fill our eyes through her works. As a single being, she wants to talk about what lies beyond that existence and reaffirm the meaning of the differences.

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  Underground landscape 26, mixed media on canvas 130.3x89.4, 60p, 2023

  Underground Landscape   승 요   이번 작업은 우리가 매일 쓰고 버리는 일회용 플라스틱에 대한 나의 각성에서 시작된 작업이다. 우리는 일상적으로 일회용 비닐을 쓰고 무심히 분리수거 해서 버린다. 편리하게 나온 플라스틱 제품들도 마찬가지다. 그리고 보통은 계절마다 필요한 옷을 사고, 필요하지 않은 옷은 정리해서 분리수거함에 내놓는다. 우리가 재활용으로 내놓은 옷들이 아프리카나 동남아 저소득 국가에 수출되어 쓸만한 옷은 판매되어 재활용되지만, 나머지는 강이나 바다에 버려져서 쓰레기 강이 된다는 소식을 우리는 환경매체를 통해서 많이 듣는다. 이러한 충격적인 내용의 방송이나 우리 일상의 심각성을 모르는 사람들은 없을 것 같다. 다만 편리함에 익숙해진 우리는 외면하거나 어쩔 수 없지…. 하면서도 피할 수 없는 환경 오염을 걱정하고 있다. 나도 그러고 사는 중이다. 우리가 재활용한 옷이 누군가는 요긴하게 입을 거라는 막연한 생각은 많이 빗나가 있는 듯하다. 작업의 주제는 100년이 지나도 썩지 않는다는 비닐과 플라스틱 그리고 폴리에스터 옷을 이용한 땅속 풍경이다. 이 작업을 대하는 나의 태도는 캔버스 안에서 나의 계획 되지 않은 나의 마음가짐이다. 이것은 우리가 비닐 쓰레기를 버릴 때 또는 옷을 재활용 보관함 통에 넣을 때와 같은 익숙한 행동이 캔버스에서 물감들의 자유로운 행위로 작업이 표현되었다. 최대한 무의식의 상태에서 표현하고 싶었고 땅속이나 바다의 폐기물들에 대한 저항을 말하고 싶었다. 그래서인지 캔버스 화면에는 의도되지 않은 기호들이나 도상들이 낙서 된다. 여기에 쓰인 재료는 아크릴과 안료의 혼합이며, 생분해 비닐과 천 조각들로 구성되었다. 우리 일상에서 도저히 떼어내어 생각할 수 없이 깊이 자리 잡은 일회용 플라스틱이 분해 되지 않고 땅속에 남아 있는 상태에서 시간이 흐를수록 유해 물질들이 흐르거나 분해되는 과정이 표현되었다.  

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  오후 볕이 바람 바래었다 116.8X91.0 Oil on Canvas 2023

  The Cradle;  Kim Eun-Kyung 'glittering’ The wind shook the star and passed away, and it fell into the far end of the darkness.               I met the river of stars flowing in the deep indigo sky, which remembered the night again on a neighboring mountainside a long time later. On a brilliant summer night, with stars pouring into the chest of the Milky Way, I asked the fireflies that had gone out if they had already died. There was no answer. I had the doubt cleared when I became an adult. The stars that had fallen overnight twinkled through the morning fog that filled the fields.    After the refreshing light green morning of the season passed, the summer sunlight tightening the skin's surface had sunk into the time of fall, and when the sky turned dark blue, red persimmons fell into the yard. When a star is thrown deep into the sky, covered by a small hand, the longing becomes cold air and spreads white. I spent the afternoon with the sun shining far on the ground, sweetening it with candy, and as the east breeze carried the sun toward Seosan, it disappeared, leaving a lingering purple behind. It had been a long since somebody built a Western style house in place of my mother's house during my childhood. Even that has now become empty and a very distant story. Once full of light green freshness, the fields were tightly filled with the roofs of agricultural and industrial complexes, and the dusty gravel roads disappeared deep beneath the asphalt. The village people who welcomed me as a granddaughter of one of their families also left for a long time to a distant place. The earthen wall has disappeared, and only the gray cement wall stands with a dry expression. Every year, I have confirmed the existence of that time by reproducing the space and time that exists as a memory in color. The irregular arrangement of years, the uneven flow of time, and the time of childhood are summoned in color when encountering familiar objects. There was nothing left of my childhood. The air, the wind, and the smells that filled the season have disappeared, and only the felt memories remain.   When I threw a star deep into the sky and covered it with my five-year-old hand, a firefly flew up with a bright light.   *All writing rights belong to the author.

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