|Kim, Joo-Hyun' work is simple.
Her attitude toward producing work is native. She dislikes, by nature, that art
is clothed in flowery words, brimful sense and vigorous imagination.
All she tres to express is the nature material, its reactions and the feelings it is combined to create.
Plaster poured into a vinyl frame flows so quickly that it is turned into a solid from wrinkled and crushed. It does not
lose the original from such as cubic, cone and triangle. The artist tries to reveal the intrinsic features of each material
While plaster creates a smooth surface, steel plate presses plaster with its weight. While the former appears
expanding , the letter acts as a balance to control the stretching tendency.
Despite the simplicity of the form, her work does not give viewers the mechanical image shown in minimalism.
This impression stems from her attitude that she handles matter like an organism . Natural wrinkles, expanded
surface and sharp corners, which are created while plaster flows down, and red rusted iron core socks out from the white
surface of plaster.
This combination lessons the dryness of minimalism.
Dropping paint on a wooden plate or on the surface comprising small hexahedrons is part the plaster-pouring work.
She is willing to accept the reactiveness that what the artist has to do is to follow the process through which forms
are created in stain. Some works in which vinyl bags are not uncovered are the accidental findings.
Some forms of her work look like cushons, some expanded tablets and remind viewers of dice.
They stand comfortably on the floor as if they are used to doing so. They are soft like our skin and familiar like our
prossessions. She tries neither to deny nor to stress things in our daily lives. She shows them to the viewers, while
she herself obsserves them. Thus, the space of the artist, of the work and of gallery goers is wide open.
It is a fun and amusing area which people can enjoy comfortably.
This sense of fun and amusement is also a starting-point in her recent work, with a strong artistic emphasis on space.
A single difference is made in that it occupies a bigger space in the artist's consciousnrss. Seeng the paper piling
work where paper cut in circles or squares is piled to form cone or cubic, we follow the flow of monotonous time to space.
The artist shows a more procative attitude is reflected so that she partitions the given space to produce the integrity space.
This attempt instigates viewers to give access to them by hinting at changeability and temporariness. Kim's work seems
to have nothingto do with life in apearance . If it touched our senses more seriously than work expressing life in specific
modifiers, it would result from the omission of tedious of explanation. Her work is the most light, or maybe sharp
metaphor of transient life.