https://doikim.com Doi Kim Sat, 12 Sep 2026 23:36:09 +0000 https://doikim.com en https://doikim.com/Information Sun, 19 Dec 2021 20:44:31 +0000 Doi Kim https://doikim.com/Information <img width="1315" height="1735" width_o="1315" height_o="1735" data-src="https://freight.cargo.site/t/original/i/e35c637a594a5926f1e83a9736b843d16cd7f45567f2875f34e5c9d111392eff/Doi-Kim__.jpg" data-mid="128418527" border="0" data-scale="36" src="https://freight.cargo.site/w/1000/i/e35c637a594a5926f1e83a9736b843d16cd7f45567f2875f34e5c9d111392eff/Doi-Kim__.jpg" /> CONTACT Email: doikimstudio@gmail.com Instagram: @_doikim Doi Kim (b. Seoul, South Korea) is a visual artist based in New York and Seoul. She holds an M.F.A. from the School of Visual Arts (New York, NY, USA) and a B.A. from the Korea National University of Arts (Seoul, South Korea). In 2017, she studied printmaking at the Academy of Fine Arts in Prague (Czech Republic). &nbsp; Her solo exhibitions include 17717 (Seoul), ChaShaMa Space (New York), and space xx (Seoul). Selected group exhibitions include Flux Factory (New York, NY), The Arts Center at Governors Island (New York, NY), Miami International Fine Arts (Miami, FL), Susquehanna Art Museum (Harrisburg, PA), Manhattan Graphics Center (New York, NY), Sage College (Albany, NY), Ethan Cohen KUBE (Beacon, NY), Stone Leaf Retreat (Eddyville, NY), College of Central Florida, Webber Gallery (Ocala, FL), Untitled Art (Miami, FL), Rear Window Gallery (Hangzhou, China), and Gallery AVU (Prague, CZ).&nbsp;Kim is a 2024 NYFA IAP mentee and recipient of the Outstanding Achievement Award at the 2022 Tripvill International Film Festival. She was also awarded a grant from the Seoul Foundation for Arts and Culture in 2022 and was a member of the Society of American Graphic Artists and Boston Printmakers.Kim has participated in artist residencies at ChaNorth (Pine Plains, NY), SÍM Residency (Reykjavík, Iceland), Kala Art Institute (Berkeley, CA), AGA LAB (Amsterdam, Netherlands), Centrum (Port Townsend, WA), Stove Works (Chattanooga, TN), Sapporo Tenjinyama Studio (Sapporo, Japan) and KH Messen (ålvik, Norway). EDUCATION 2019-2021 MFA Fine Arts, School of Visual Arts — New York, NY2014-2019 BFA Fine Arts, Korea National University of Arts — Seoul, South Korea&nbsp; 2017&nbsp;Exchange Student Program, Printmaking studio,&nbsp;Academy of Fine Arts in Prague — Prague, Czech Republic 학력 2019- 2021 MFA Fine Arts School of Visual Arts — 미국, 뉴욕2014-2019 학사 한국예술종합학교 조형예술과 2017&nbsp;교환학생 프로그램, 판화 스튜디오,&nbsp;Academy of Fine Arts in Prague&nbsp;—&nbsp;체코, 프라하 EXHIBITIONSSolo exhibitions2024 자리 Locus, 17717 — Seoul, South Korea 2023 Velvet, Chashama Space 266 W 37th St, New York, NY — New York, NY&nbsp; 2026 10-Body Problem, TYPA Centre — Tartu, Estonia Group exhibitions 2026The Preview Seoul, SFactory — Seoul, South Korea 2025RED DOT: The Time Being, Stove Works — Chattanooga, TN Sacred Space, 440 Gallery — New York, NY City Gazes, A Space Gallery — New York, NY Storyteller,&nbsp;Temple Contemporary —&nbsp;Philadelphia, PA Graphic Alchemy, De Bouwput —&nbsp; Amsterdam, Netherlands 2024 &nbsp; &nbsp; &nbsp; &nbsp; SFMOMA Small Press Book Bazaar — San Francisco, CA 3rd Annual Mini Gems, SAGA Gallery — New York, NY Island Luminaria 2, Flux Factory — New York, NY SAGA 89th Annual Members Exhibition, The Arts Center at Governors Island — New York, NY New Born, A Space Gallery — New York, NY Safe space, The BLANC — New York, NY Myths and Legends of the World, mifa (Miami International Fine Arts) —&nbsp;Miami, FL In/Between 2024: Cosmic Domestic, New York Live Arts Gallery — New York, NY SIM Residency Open Space, &nbsp;SIM Barn Korpúlfsstaðir — Reykjavik, Iceland 2023&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Manhattan Graphics Center National Print Exhibition, Manhattan Graphics Center Gallery — New York, NY&nbsp; SAGA's 88th Annual Members Exhibition, The Old Print Shop — New York, NY Echoes of Home,&nbsp; RIVAA Gallery — New York, NY A Moving Image Experience,&nbsp; :iidrr gallery — New York, NY 2022&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Betwixt and Between,&nbsp; Project Gallery V — New York, NY &nbsp; Screen Print Biennial 2022, Opalka Gallery at the Sage College,&nbsp; Albany,&nbsp; NY and Mirabo Press Gallery, Buffalo, NY &nbsp; 2022 Extreme Pressure Biennial of American Prints Exhibition, College of Central Florida, Webber Gallery — Ocala, FL THE PATRIOT, O’Flaherty’s — New York, NY &nbsp; Future places,&nbsp; Susquehanna Art Museum — Harrisburg, PA &nbsp; The 5th New York International Miniature Print Exhibition, Manhattan graphics center — New York, NY As the light disperses into the eyes, PCV A and online — New York, NY 2021 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Untitled Art Miami Beach, Miami Beach — Miami, FL&nbsp; Brooklyn Seoul, Brooklyn Waterfront Artists Coalition — New York, NY Performance Performance Performance: Title to be determined, Starta Arta — New York, NY Beverly’s Upstate Art Weekend, Stone leaf Retreat — Eddyville, NY Partition, SVA Galleries — Online&nbsp; Here together: SVA MFA Fine Arts Thesis Exhibition — New York, NY STAR/START, Rear Window Gallery — Hangzhou, China 2020&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Darkest Before Dawn: Art in a time of uncertainty, Ethan Cohen KUBE — Beacon, NY Mirror/Image,&nbsp; curated by Riana Gideon — Online 2018 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Using Future Passed Already: BFA Graduation exhibition, Korea National University of Arts — Seoul, South Korea 2017 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Lost and _______, Gallery AVU — Prague, Czech Republic Šaloun Collectivity Problems Research Itinerant Institute,&nbsp; Šaloun Villa — Prague, Czech Republic SCREENING 2022 Tripvill International Film Festival RESIDENCIES2026 KH Messen International Artist Residency — Ålvik, Norway / January - February, 2026TYPA Centre Residency — Tartu, Estonia / May - August, 2026 2025Sapporo Tenjinyama Art Studio Residency — Sapporo, Japan / November 30 - December 28, 2025Stove Works Artist Residency — Chattanooga, TN /April - May, 2025Centrum Artists-in-Residence Program — Port Townsend, WA /March 17 - 31, 2025AGA LAB Artists-in-Residence Program — Amsterdam, Netherlands /February 2025 2024 Kala Art Institute Artists-in-Residence Program — Berkeley, CA /December, 2024 ChaNorth International Writers &amp; Artists-in-Residence Program — Pine Plains, NY /June 2024 SÍM Residency — Reykjavík, Iceland /Jan 2024 GRANTS / AWARDS / MEMBERSHIPS2025SAGA (Society of American Graphic Artists) Member The Boston Printmakers Member 2024&nbsp; 2024 New York Foundation for the Arts (NYFA) IAP Cohort SAGA (Society of American Graphic Artists) Member The Boston Printmakers Member 2023&nbsp; ChaShaMa Space to Present Solo ExhibitionSAGA (Society of American Graphic Artists) Member 2022&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Outstanding Achievement Award, 2022 Tripvill International Film Festival Seoul Foundation for Arts and Culture, &lt;RE: SEARCH&gt; Grant 2021 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Nominated to AICAD Post-Graduate Teaching Fellowship WORK EXPERIENCES2026Monsterverkstad Workshop, Kunsthuset Kabuso (Øystese, Norway) / February 2026 2024 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Assistant Chromist, Brand X Editions (New York, USA) / May 2022 ~January&nbsp; 2024 2022&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Studio Assistant, Ribuoli Digital (New York, USA) / June 2022 ~ July 2022 2021&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Assistant Printmaker, Harlan &amp; Weaver INC (New York, USA) / June 2021 ~ July 2022 Studio Assistant, Korean Language and Cultural Consultant, Mika Rottenberg Studio (New York, USA) / January ~ August 2021 https://doikim.com/10-Body-Problem Sat, 12 Sep 2026 23:36:09 +0000 Doi Kim https://doikim.com/10-Body-Problem 10-Body Problem VenueTYPA Centre (Tartu, Estonia) Exhibition DatesJuly 16th - August 3rd, 2026 Curation: Doi KimPoster design: Merilin MetsamaaDocumentation: Kirke-Triin Ritsik, Doi Kim Special thanks to Jörgen Loot 전시 장소TYPA Centre (Tartu, Estonia) 전시 기간 2026년 7월 16일 - 8월 3일&nbsp; 기획: 김도이포스터 디자인: Merilin Metsamaa촬영: Kirke-Triin Ritsik,&nbsp;김도이 Special thanks to Jörgen Loot <img width="5600" height="3676" width_o="5600" height_o="3676" data-src="https://freight.cargo.site/t/original/i/996b12a153ff2422ccbdcb4f5f66cb98bc11238246a8adf8fb023679692784a6/unnamed.jpg" data-mid="252100099" border="0" alt="Part of 10-Body Problem I: Classic of Mountains and Seas (B.C. 4th Century) 2026, etching and 3D-printed relief print on Korean mulberry paper, 75 x 142 cm" data-caption="Part of 10-Body Problem I: Classic of Mountains and Seas (B.C. 4th Century) 2026, etching and 3D-printed relief print on Korean mulberry paper, 75 x 142 cm" src="https://freight.cargo.site/w/1000/i/996b12a153ff2422ccbdcb4f5f66cb98bc11238246a8adf8fb023679692784a6/unnamed.jpg" /> Borrowing its title from the †N-body problem in physics,《10-Body Problem》 explores how images move between past and future, memory and oblivion, fact and imagination. Through the works composed of historical images, speculative ecologies derived from them, and visible-light spectra, the series asks how media and records shape our understanding of the world through the lens of printmaking, a medium of producing records. In the ancient Eastern mythological text Shan Hai Jing (Classic of Mountains and Seas), a fish with one head and ten bodies may have originated from a simple misreading: people in ancient times mistook a squid’s tentacles for multiple bodies. Rather than discard this cognitive mistake as false, they recorded and preserved it, allowing it to become a legitimate “alternative truth.” As the historian Paul Veyne suggests, †humans inhabit both the room of reality and the room of myth; from ancient times, the layers of truth recorded through media could be trusted in their own right. Humanity has lived by refracting such errors of perception—its own truths—like a spectrum. Albrecht Dürer’s woodcut The Rhinoceros, though inaccurate to the real animal, circulated so persuasively as an image that it was accepted as fact within the natural sciences of its time. Developed during a residency at the TYPA Center in Estonia, an institution dedicated to preserving the history of printing and letterpress equipment, 《10-Body Problem》&nbsp;reflects on images that formed the perception of the world through systems of recording, printing, and archiving. The images from various historical periods that are summoned and reinterpreted in the work become more than mere symbols of the past. Grounded in the belief that they have been preserved for centuries—and may continue to exist far into the future—they become mediators through which the past extends into the future. Works made with materials and techniques that bear traces of time from ancient, medieval, and contemporary eras—hanji (traditional Korean mulberry paper), etching, and 3D-printed relief plates—become portals through which truth and memory travel across time and space. † The N-body problem asks whether it is possible to perfectly predict where celestial bodies or objects that exert gravitational forces on one another will move in the future. † Paul Veyne&nbsp;《Did the Greeks believe in their myths?》, 1983 물리학의 †N체 문제에서 제목을 빌려온 《10-Body Problem》은 판화가 가진 기록 매체로서의 역사를 바탕으로 이미지가 과거와 미래, 기억과 망각, 사실과 상상 사이를 어떻게 이동하는지 탐구한다. 과거의 도상과 그로부터 파생된 사변적인 생태계, 그리고 가시광선 스펙트럼으로 구성된 이 연작은 매체와 기록이 우리가 세계를 이해하는 방식에 어떻게 관여하는지 질문한다. 고대 신화집《산해경(山海經)》에 등장하는 ‘머리 하나에 몸통 열 개짜리 물고기 괴물’의 실체는 오징어 다리를 몸체로 오해한 인간의 착오였다. 인류는 이 인지의 오류를 거짓으로 버리는 대신, 판형을 만들고 기록하고 보존하여 하나의 정당한 ‘대안적 진실’로 고착화해 왔다. †역사학자 폴 벤느(Paul Veyne)의 말처럼, 인간에게는 현실의 방과 신화의 방이 동시에 존재하며, 고대인들은 매체에 기록된 그들만의 진실의 층위를 정당하게 신뢰해왔기 때문이다. 인류는 아주 오래전부터 이러한 인지적 오류, 자신만의 진실을 스펙트럼처럼 변주하며 살아왔다. 뒤러의 목판화 《코뿔소(The Rhinoceros)》는 실제 코뿔소와는 달랐지만, 설득력 있는 이미지로 제작되어 확산된 덕분에 당대 자연과학계에서 사실로 받아들여졌다. 《10-Body Problem》은 활자와 활판 인쇄 등 기록 매체의 역사를 보존하는 에스토니아 TYPA 센터 레지던시에서 구체화되었다. 일련의 연작들은 기록, 인쇄, 아카이빙의 체계를 통해 세계에 대한 인식을 형성해 온 다양한 시공간의 이미지들을 되돌아본다. 작업 속에서 소환되고 재해석되는 다양한 시간대의 도상은 그것이 이미 수 세기 동안 보존되었고, 앞으로 먼 미래까지 존재할 것이라는 믿음에 기반하여 단순한 과거의 상징물이 아니라 미래의 상상으로 확장되는 매개체가 된다. 한지, 동판화, 3D 프린터로 제작한 볼록 판화 등 고대와 중세, 그리고 동시대의 흔적을 품은 재료와 기법으로 구성된 작품들은 진실과 상상, 기억이 시공간을 가로질러 이동하는 통로가 된다. †물리학의 난제인 ‘N체 문제’는 “서로 중력을 주고받는 천체(물체)들이 미래에 각각 어디로 움직일지 완벽하게 예측할 수 있는가?"를 다루는 문제이다. † 폴 벤느 《그리스인들은 신화를 믿었는가?》, 1983 <img width="5768" height="3850" width_o="5768" height_o="3850" data-src="https://freight.cargo.site/t/original/i/ca07fca9c59dd5216e1a4910b3528dec91a64f6cfdd584a124d4911b855fba0b/unnamed-4.jpg" data-mid="252100104" border="0" src="https://freight.cargo.site/w/1000/i/ca07fca9c59dd5216e1a4910b3528dec91a64f6cfdd584a124d4911b855fba0b/unnamed-4.jpg" /> <img width="6016" height="4016" width_o="6016" height_o="4016" data-src="https://freight.cargo.site/t/original/i/166a4372337a822d2b2be8e2809f6d9aeb464eac66ef64be65d1076f534b7ec1/unnamed-2.jpg" data-mid="252100105" border="0" src="https://freight.cargo.site/w/1000/i/166a4372337a822d2b2be8e2809f6d9aeb464eac66ef64be65d1076f534b7ec1/unnamed-2.jpg" /> <img width="4940" height="3444" width_o="4940" height_o="3444" data-src="https://freight.cargo.site/t/original/i/74c98d7c40c9c00550ded4a97851fa07fd175717c85c70e492385b9e6edb3d46/unnamed-3.jpg" data-mid="252100106" border="0" alt="Electric Sheep 2026, etching on Magnani Incisioni printmaking paper, 50 x 70 cm" data-caption="Electric Sheep 2026, etching on Magnani Incisioni printmaking paper, 50 x 70 cm" src="https://freight.cargo.site/w/1000/i/74c98d7c40c9c00550ded4a97851fa07fd175717c85c70e492385b9e6edb3d46/unnamed-3.jpg" /> © Doi Kim 2026 https://doikim.com/Seasons Wed, 29 Jan 2025 14:41:09 +0000 Doi Kim https://doikim.com/Seasons Seasons 2025 <img width="2300" height="3224" width_o="2300" height_o="3224" data-src="https://freight.cargo.site/t/original/i/2a163dc6c246e0346fdbf7a421c4b3cd7ef94b374c1130f33155b7a7bc5891d0/6425-Seasons-I--December--Berkeley--CA--North-America.jpg" data-mid="234862666" border="0" alt="Seasons I: December, Berkeley, CA, North America (2024), Aquatint, Paper dimensions: 25.5 x 20 cm / 10 x 7.8 in, Image dimensions: 19.5 x 10 cm / 7.6 x 4 in " data-caption="Seasons I: December, Berkeley, CA, North America (2024), Aquatint, Paper dimensions: 25.5 x 20 cm / 10 x 7.8 in, Image dimensions: 19.5 x 10 cm / 7.6 x 4 in " src="https://freight.cargo.site/w/1000/i/2a163dc6c246e0346fdbf7a421c4b3cd7ef94b374c1130f33155b7a7bc5891d0/6425-Seasons-I--December--Berkeley--CA--North-America.jpg" /> <img width="2300" height="3238" width_o="2300" height_o="3238" data-src="https://freight.cargo.site/t/original/i/78b39f1230e186378963b8e05811751e3efdde3a73f1993b489268166ccccec1/6425-Seasons-II--December--Berkeley--CA--North-America.jpg" data-mid="234862845" border="0" alt="Seasons II: December, Berkeley, CA, North America (2024), Aquatint, Paper dimensions: 25.5 x 20 cm / 10 x 7.8 in, Image dimensions: 19.5 x 10 cm / 7.6 x 4 in " data-caption="Seasons II: December, Berkeley, CA, North America (2024), Aquatint, Paper dimensions: 25.5 x 20 cm / 10 x 7.8 in, Image dimensions: 19.5 x 10 cm / 7.6 x 4 in " src="https://freight.cargo.site/w/1000/i/78b39f1230e186378963b8e05811751e3efdde3a73f1993b489268166ccccec1/6425-Seasons-II--December--Berkeley--CA--North-America.jpg" /> Printed at Kala Art Institute, Berkeley, California, USA Seasons I, II: December, Berkeley, CA, North America (2024) was created during my residency at the Kala Art Institute in Berkeley, CA, inspired by the misty sunsets of the Bay Area. As light passes through the fine water droplets, the colors take on a synesthetic quality, evoking visual and nearly tactile sensations as moisture subtly shapes the atmosphere's texture and temperature. Seasons I, II: December, Berkeley, CA, North America (2024)는 미국 캘리포니아주 버클리에 위치한 Kala Art Institute의 레지던시에 참여하며 제작된 작품으로, 샌프란시스코의 안개 낀 일몰 풍경에서 영감을 받았다. 안개의 미세한 물방울 사이로 산란하는 노을의 색은 안개의 습도, 온도와 어우러져 시각적이자 촉각적인 질감을 불러일으켜 섬세하고도 공감각적인 인상을 만들어냈다. Seasons I: December, Berkeley, CA, North America는 이러한 인상을 색으로써 기록한다. <img width="2200" height="3120" width_o="2200" height_o="3120" data-src="https://freight.cargo.site/t/original/i/968006276565fccd5119410f305dd385f7ea052b8af2c6512d02b2e3c2c91521/61225-Seasons-I_January--New-York--NY--North-AMERICA.jpg" data-mid="234862940" border="0" alt="Seasons I: January, New York, NY, North America (2025), Ink on aquatint, Paper dimensions: 25.5 x 20 cm / 10 x 7.8 in, Image dimensions: 19.5 x 10 cm / 7.6 x 4 in" data-caption="Seasons I: January, New York, NY, North America (2025), Ink on aquatint, Paper dimensions: 25.5 x 20 cm / 10 x 7.8 in, Image dimensions: 19.5 x 10 cm / 7.6 x 4 in" src="https://freight.cargo.site/w/1000/i/968006276565fccd5119410f305dd385f7ea052b8af2c6512d02b2e3c2c91521/61225-Seasons-I_January--New-York--NY--North-AMERICA.jpg" /> <img width="2200" height="3028" width_o="2200" height_o="3028" data-src="https://freight.cargo.site/t/original/i/4277fd235a072c128d9803df8bf4202028fe02662be14af659c202da645f6f47/61225-Seasons-II_January--New-York--NY--North-America.jpg" data-mid="234862963" border="0" alt="Seasons II: January, New York, NY, North America (2025), Ink on aquatint, Paper dimensions: 25.5 x 20 cm / 10 x 7.8 in, Image dimensions: 19.5 x 10 cm / 7.6 x 4 in" data-caption="Seasons II: January, New York, NY, North America (2025), Ink on aquatint, Paper dimensions: 25.5 x 20 cm / 10 x 7.8 in, Image dimensions: 19.5 x 10 cm / 7.6 x 4 in" src="https://freight.cargo.site/w/1000/i/4277fd235a072c128d9803df8bf4202028fe02662be14af659c202da645f6f47/61225-Seasons-II_January--New-York--NY--North-America.jpg" /> Printed at Stove Works, Chattanooga, Tennessee, USA Seasons I, II: January, New York, NY, North America (2025) draws on the colors of the astronomical ceiling mural at Grand Central Terminal in New York City—a place I continually left and returned to. Created during a nomadic period marked by constant movement and temporary residencies, the works trace my shifting psychological landscape. 뉴욕 그랜드 센트럴 역의 별자리를 그린 천장화의 색을 차용한 Seasons I, II: January, New York, NY, North America (2025)는 뉴욕을 기반으로 다양한 레지던시 프로그램에 참여하며 일시적인 체류와 잦은 이동을 반복하던 시기 나의 심리적 풍경을 기록한다. <img width="2392" height="3175" width_o="2392" height_o="3175" data-src="https://freight.cargo.site/t/original/i/bdeacf0e03aa4f31a6f4d95303af95557081a382734bbfc895ffabaf26fd2942/61225-Seasons-I_February--Amsterdam--Netherlands-copy.jpg" data-mid="234511343" border="0" alt="Seasons I: February, Amsterdam, Netherlands (2025), Acrylic on aquatint, Paper dimensions: 25.5 x 20 cm / 10 x 7.8 in, Image dimensions: 19.5 x 10 cm / 7.6 x 4 in" data-caption="Seasons I: February, Amsterdam, Netherlands (2025), Acrylic on aquatint, Paper dimensions: 25.5 x 20 cm / 10 x 7.8 in, Image dimensions: 19.5 x 10 cm / 7.6 x 4 in" src="https://freight.cargo.site/w/1000/i/bdeacf0e03aa4f31a6f4d95303af95557081a382734bbfc895ffabaf26fd2942/61225-Seasons-I_February--Amsterdam--Netherlands-copy.jpg" /> <img width="2451" height="3194" width_o="2451" height_o="3194" data-src="https://freight.cargo.site/t/original/i/468559a87ae103df4ccf2b438a8174c58e9845abde2db5491e7bd601466d48a2/61225-Seasons-II_February--Amsterdam--Netherlands-copy.jpg" data-mid="234511338" border="0" alt="Seasons II: February, Amsterdam, Netherlands (2025), Acrylic on aquatint, Paper dimensions: 25.5 x 20 cm / 10 x 7.8 in, Image dimensions: 19.5 x 10 cm / 7.6 x 4 in" data-caption="Seasons II: February, Amsterdam, Netherlands (2025), Acrylic on aquatint, Paper dimensions: 25.5 x 20 cm / 10 x 7.8 in, Image dimensions: 19.5 x 10 cm / 7.6 x 4 in" src="https://freight.cargo.site/w/1000/i/468559a87ae103df4ccf2b438a8174c58e9845abde2db5491e7bd601466d48a2/61225-Seasons-II_February--Amsterdam--Netherlands-copy.jpg" /> Printed at AGA LAB, Amsterdam, Netherlands&nbsp; This work was developed at AGA LAB in Amsterdam. In the early twentieth century, Amsterdam’s residential districts were divided by religion, political ideology, and class, reflecting a pillarized social structure. Het Schip, now a museum, was built as part of the Amsterdam School’s social-housing movement to introduce shared public spaces and gradually blur these boundaries. Walking through Amsterdam’s winter landscape, I observed how the canal surfaces turned the scenery into shifting, amorphous images. I learned from the Netherlands’ Garden City planning that in a predominantly flat country, when trees or facades block the view, people imagine the horizon extending endlessly beyond them. Drawing on these elements, I came to see the idea of the future in the Netherlands not as the fulfillment of a predetermined future but as an abstraction—a temporal and spatial horizon. The work registers this impression of Amsterdam in color. Seasons I, II: February, Amsterdam, Netherlands(2025)는 암스테르담의 AGA LAB 레지던시 프로그램에 참여하며 관찰한 도시의 감각을 표현한다. 20세기 초 암스테르담의 주거지역은 종교, 정치, 계급에 따라 나뉘는 기둥화(pillarization) 사회 구조를 반영하여 사회적 경계에 따라 분리되어 있었다. 현재 박물관으로 운영되는 Het Schip은 암스테르담 스쿨의 사회주택 운동의 일환으로 건설되었으며, 기둥화된 지역 한가운데에 초등학교 등과 같은 공공시설을 건설하여 시간이 지남에 따라 다양한 사회 집단이 서로 교류하며 사회적 경계를 추상화하여 공동체를 형성하도록 하는&nbsp;역할을 하였다.겨울의 암스테르담을 산책하며 관찰한 운하의 수면은 주변 풍경을 계속해서 변화하는 추상적이고 비정형적인 이미지로 치환시켰다. 네덜란드의 정원 도시 계획(Garden City plan)을 리서치하며 알게 된 흥미로운 사실 중 하나는, 네덜란드처럼 평지가 많은 나라에서는 숲이나 가로수와 같은 파사드가 시야를 가릴 경우, 그 너머가 끝없이 이어진 평지일 것이라고 상상한다는 점이었다. 나는 20세기 초 암스테르담 스쿨의 도시계획, 운하 수면에 비친 일렁이는 이미지, 그리고 파사드 너머를 수평선처럼 상상하는 이 세 가지 요소에서 네덜란드의 미래성(futurity)에 대한 관념은 계획된 미래를 성취하는 것이 아닌, 미래라는 시공간의 추상화 그 자체에 있다고 느꼈다. 이러한 사유를 통해 Seasons I, II: February, Amsterdam, Netherlands(2025)는 이러한 인상들을 색채로 담아낸다. <img width="2300" height="3209" width_o="2300" height_o="3209" data-src="https://freight.cargo.site/t/original/i/4bcd0e9821a0db211588538772bf720228ed84da6a243d515f8fe4a0f57f7e8a/61225-Seasons-I_March--Fort-Worden--WA--North-America.jpg" data-mid="234862975" border="0" alt="Seasons I: March, Fort Worden, WA, North America (2025), Ink on aquatint, Paper dimensions: 25.5 x 20 cm / 10 x 7.8 in, Image dimensions: 19.5 x 10 cm / 7.6 x 4 in" data-caption="Seasons I: March, Fort Worden, WA, North America (2025), Ink on aquatint, Paper dimensions: 25.5 x 20 cm / 10 x 7.8 in, Image dimensions: 19.5 x 10 cm / 7.6 x 4 in" src="https://freight.cargo.site/w/1000/i/4bcd0e9821a0db211588538772bf720228ed84da6a243d515f8fe4a0f57f7e8a/61225-Seasons-I_March--Fort-Worden--WA--North-America.jpg" /> <img width="2300" height="3171" width_o="2300" height_o="3171" data-src="https://freight.cargo.site/t/original/i/d8dc01c883ae244353ce95be61f19372caa21808f3074d9c164e0aa58c3a6b35/61225-Seasons-II_March--Fort-Worden--WA--North-America.jpg" data-mid="234863003" border="0" alt="Seasons II: March, Fort Worden, WA, North America (2025), Ink on aquatint, Paper dimensions: 25.5 x 20 cm / 10 x 7.8 in, Image dimensions: 19.5 x 10 cm / 7.6 x 4 in" data-caption="Seasons II: March, Fort Worden, WA, North America (2025), Ink on aquatint, Paper dimensions: 25.5 x 20 cm / 10 x 7.8 in, Image dimensions: 19.5 x 10 cm / 7.6 x 4 in" src="https://freight.cargo.site/w/1000/i/d8dc01c883ae244353ce95be61f19372caa21808f3074d9c164e0aa58c3a6b35/61225-Seasons-II_March--Fort-Worden--WA--North-America.jpg" /> Printed at Centrum, Fort Townsend, Washington,USA Seasons I, II: March, Fort Worden, WA, North America was created during my residency at Centrum, located at Fort Worden State Park in Washington, USA. Fort Worden served as a military base from 1902 to 1953, later operated as a hospital during the Spanish flu, and in 1957 functioned as a juvenile detention facility. It has been a state park since 1973. Situated between the shoreline, abandoned batteries, and the Memory Vault—a monument to fallen soldiers—the fort also supported the U.S. Far East Command at the outset of the Korean War. The Centrum residency occupies former barracks that have been repurposed for artists in the visual, literary, and musical fields. Sea winds steadily erode the wooden structures of barracks, while vines, trees, and moss infiltrate the concrete batteries, creating an uncanny atmosphere. The site carries a lingering eeriness; some artists recounted witnessing poltergeist activity, and I occasionally encountered objects believed to be spiritual or haunted. The physical decay parallels the gradual fading of memory—history corroding and lingering only as a shifting trace. These works capture impressions of batteries overtaken by vegetation and landscapes worn down by sea winds. Through them, I reflected on the psychological traces of the war and on stories that were not fully memorialized—memories oxidizing into matter, slowly dissolving in the mind, and ultimately remaining as ghost stories. Seasons I, II: March, Fort Worden, WA, North America (2025)는 워싱턴주 Fort Worden 주립공원에 위치한 Centrum 레지던시에 참여하며 제작되었다. Fort Worden은 1902년부터 1953년까지 군사 기지로 사용되었고, 이후 스페인 독감 치료와 격리를 위한 병원, 1957년에는 청소년 구치소로 사용되었으며 1973년 이후부터는 주립 공원으로 개방되었다. 앞에는 바닷가가, 뒤에는 버려진 기지와 전사자를 기리는 기념비인 Memory Vault가 있는 언덕이 있는 이 요새는 한국전쟁 초기, 미군 극동사령부를 지원하는 용도로 사용되기도 하였다. Centrum 레지던시는 과거 막사였던 건물을 레지던시 공간으로 사용하고 있었다. 바닷바람은 목조 막사를 계속해서 부식시키고 콘크리트 기지들은 이끼로 뒤덮이고 숲의 덩굴과 나무가 내부로 침입하고 있어 기묘한 분위기를 자아냈다. Fort Worden은 전반적으로 으스스한 기운이 감돌고 있었는데 숙소로 사용되고 있는 건물 안에서 폴터가이스트 현상을 목격했다는 작가들도 만났고 종종 기지에 영적인 물건이 버려져 있기도 했다. 물리적인 시간의 흐름 속에서 침식되는 기억과 장소, 그러므로 고정되지 못한 채 유령으로 남아 부식되고 있는 역사. 이 작업은 각각 숲 속에서 식물에 잠식된 기지와 강한 바닷바람에 의해 마모되고 부식되는 풍경에 대한 인상을 색으로 담는다. 이 작업을 통해 나는 기념되어 고정되는 역사 너머, 물질과 기억 속에서 점차 산화되어 유령의 이야기로 남은 전쟁과 사람들의 경험에 대한 감각을 사유하였다. <img width="2300" height="2952" width_o="2300" height_o="2952" data-src="https://freight.cargo.site/t/original/i/872e0f88cb6a1c05cbc61d490d6689f96d0b9217e0628f9e5478a144c261bbaa/61225-Seasons-I--April--Chattanooga--TN--North-America.jpg" data-mid="234863008" border="0" alt="Seasons I: April, Chattanooga, TN, North America (2025), Ink on aquatint, Paper dimensions: 25.5 x 20 cm / 10 x 7.8 in, Image dimensions: 19.5 x 10 cm / 7.6 x 4 in" data-caption="Seasons I: April, Chattanooga, TN, North America (2025), Ink on aquatint, Paper dimensions: 25.5 x 20 cm / 10 x 7.8 in, Image dimensions: 19.5 x 10 cm / 7.6 x 4 in" src="https://freight.cargo.site/w/1000/i/872e0f88cb6a1c05cbc61d490d6689f96d0b9217e0628f9e5478a144c261bbaa/61225-Seasons-I--April--Chattanooga--TN--North-America.jpg" /> <img width="2500" height="3273" width_o="2500" height_o="3273" data-src="https://freight.cargo.site/t/original/i/39fb57e0615841c8ed39bd5043d8a7f20cf65e6334879fd0b43aaeaca8c8e577/61225-Seasons-II--April--Chattanooga--TN--North-America.jpg" data-mid="234863069" border="0" alt="Seasons II: April, Chattanooga, TN, North America (2025), Ink on aquatint, Paper dimensions: 25.5 x 20 cm / 10 x 7.8 in, Image dimensions: 19.5 x 10 cm / 7.6 x 4 in" data-caption="Seasons II: April, Chattanooga, TN, North America (2025), Ink on aquatint, Paper dimensions: 25.5 x 20 cm / 10 x 7.8 in, Image dimensions: 19.5 x 10 cm / 7.6 x 4 in" src="https://freight.cargo.site/w/1000/i/39fb57e0615841c8ed39bd5043d8a7f20cf65e6334879fd0b43aaeaca8c8e577/61225-Seasons-II--April--Chattanooga--TN--North-America.jpg" /> Printed at&nbsp;Stove Works, Chattanooga, Tennessee, USA Seasons I, II: April, Chattanooga, TN, North America (2025)는 미국 테네시주 채터누가에 위치한 Stove Works의 레지던시 프로그램에 참여하던 시기에 제작되었다. 채터누가에 두 달간 머물며 나는 이 도시가 ‘눈물의 길(Trail of Tears)’의 시작점 중 하나라는 사실을 접하게 되었다.‘눈물의 길’은 1830년대 미국 정부의 인디언 이주 정책(Indian Removal Act)에 따라 체로키(Cherokee) 부족을 비롯한 여러 토착 원주민이&nbsp;강제로 고향을 떠나 현재의 오클라호마 지역으로 이주해야 했던 강제 행군의 경로를 말한다. 나는 이러한 역사에 대해 배우며 같은 해 3월에 머물렀던 워싱턴주 Fort Worden에서의 경험을 바탕으로, 검은 잉크와 기록을 통해 고정되는 역사, 시간의 흐름 속에서 침식되어 사라져가는 기억과 이러한 기억을 담은 건축물 등의 물질을 산화시키는 자연 (4월의 채터누가는 봄꽃이 지고 미국 남부의 습하고 무성한 녹음이 시작되려 하는 풍경이 있었으므로 생명이 숨을 쉬기 시작하는 풍경에 산화라는 단어가 중의적으로 느껴졌다.)에 대한 사유를 이 작업에 색채로서 담았다. <img width="2400" height="3173" width_o="2400" height_o="3173" data-src="https://freight.cargo.site/t/original/i/29d4ce5cb24af84a40f1aaa4139ed69362af20187a4d0db472e3e76161473234/61025-Seasons-I--May--Chattanooga--TN--North-America.jpg" data-mid="234863166" border="0" alt="Seasons I: May, Chattanooga, TN, North America (2025), Ink on aquatint, Paper dimensions: 25.5 x 20 cm / 10 x 7.8 in, Image dimensions: 19.5 x 10 cm / 7.6 x 4 in" data-caption="Seasons I: May, Chattanooga, TN, North America (2025), Ink on aquatint, Paper dimensions: 25.5 x 20 cm / 10 x 7.8 in, Image dimensions: 19.5 x 10 cm / 7.6 x 4 in" src="https://freight.cargo.site/w/1000/i/29d4ce5cb24af84a40f1aaa4139ed69362af20187a4d0db472e3e76161473234/61025-Seasons-I--May--Chattanooga--TN--North-America.jpg" /> <img width="2400" height="3138" width_o="2400" height_o="3138" data-src="https://freight.cargo.site/t/original/i/823fc651115066d785763a71fba3233bf2e67ba6f9cb24df359f4b2385b06c01/61025-Seasons-II--May--Chattanooga.-TN--North-America.jpg" data-mid="234863116" border="0" alt="Seasons II: May, Chattanooga, TN, North America (2025), Ink on aquatint, Paper dimensions: 25.5 x 20 cm / 10 x 7.8 in, Image dimensions: 19.5 x 10 cm / 7.6 x 4 in" data-caption="Seasons II: May, Chattanooga, TN, North America (2025), Ink on aquatint, Paper dimensions: 25.5 x 20 cm / 10 x 7.8 in, Image dimensions: 19.5 x 10 cm / 7.6 x 4 in" src="https://freight.cargo.site/w/1000/i/823fc651115066d785763a71fba3233bf2e67ba6f9cb24df359f4b2385b06c01/61025-Seasons-II--May--Chattanooga.-TN--North-America.jpg" /> Printed at Stove Works, Chattanooga, Tennessee, USA Since 2024, I have participated in residencies across various locations, which deepened my understanding of how environmental contexts shape perception and activate imagination. This led to Seasons, a series of etchings and journals documenting sensorial, historical, and emotional impressions of diverse sites, forming an archive of perceptual and psychological landscapes—chronotopes of moments, spaces, histories, and memories suspended in color. Seasons는 다양한 지역의 레지던시 프로그램에 참여하면서 여러 장소를 옮겨 다니던 시기 나의 사적인 경험의 연속성을 추적함과 동시에 변화하는 환경에 대한 지각적 예리함을 연마하는 방법으로 고안되었다. 작업에는 같은 동판화 이미지가 다양한 색으로 변주되는데, 각 색상은 머물렀던 장소의 역사적, 감각적, 심리적 인상과 나의 개인적인 궤적의 흔적을 포착한다. Seasons는 어떠한 순간, 물질적 공간, 역사적 정보 및 개인적 기억의 크로노토프를 색으로 포착하여 다양한 지각적 풍경의 아카이브를 축적해 나간다. © Doi Kim 2025 https://doikim.com/Landscape Tue, 28 Dec 2021 21:15:41 +0000 Doi Kim https://doikim.com/Landscape Landscapes 2016 - 2024 <img width="1008" height="567" width_o="1008" height_o="567" data-src="https://freight.cargo.site/t/original/i/69e6fced0ecefe093712ab093b50064bf412a27c4ca836314d8f4bd73b2a4578/10.JPG" data-mid="246476065" border="0" alt="Series of Landscapes (2016-2024)" data-caption="Series of Landscapes (2016-2024)" src="https://freight.cargo.site/w/1000/i/69e6fced0ecefe093712ab093b50064bf412a27c4ca836314d8f4bd73b2a4578/10.JPG" /> <img width="1533" height="1079" width_o="1533" height_o="1079" data-src="https://freight.cargo.site/t/original/i/ee46b23841b51b0c7c7e352f5ae10f1b2fdd1c7eb3151f68945bdf3076aa5a67/082624scan-Landscape-4_-Sunset_300dpi_detail-2.jpg" data-mid="217145360" border="0" alt="Landscape 4: Sunset (2016-2024), gouache on etching, frame size: 34 x 45 cm / 13.4 x 17.8 in, image size: 18.6 x 25.7 cm / 7.3 x 10.1 in, edition of 1/1" data-caption="Landscape 4: Sunset (2016-2024), gouache on etching, frame size: 34 x 45 cm / 13.4 x 17.8 in, image size: 18.6 x 25.7 cm / 7.3 x 10.1 in, edition of 1/1" src="https://freight.cargo.site/w/1000/i/ee46b23841b51b0c7c7e352f5ae10f1b2fdd1c7eb3151f68945bdf3076aa5a67/082624scan-Landscape-4_-Sunset_300dpi_detail-2.jpg" /> Landscape 4 (1).—Plants in harsh desert climates have developed unique mechanisms such as compact growth habits and deep root systems. Although the sky is filled with dark clouds, it never rains. The absence of sunlight for photosynthesis exacerbates the situation, leaving everything barren and lifeless. It is unclear whether they could have survived this drought. Landscape 4 (1).—혹독한 기후의 사막에서 살아가는 식물들은 좁은 면적에서 조밀하게 성장하거나 깊은 뿌리를 내리는 방식으로 진화하는 독특한 메커니즘을 발전시켰다. 머리 위에 드리워진 무거운 구름에도 불구하고 하늘은 비를 전혀 내리지 않는 것 같다. 광합성을 위한 햇빛의 부재는 상황을 악화시킨다. 그들이 이번 가뭄에서 살아남을 수 있었는지는 불분명하다. <img width="1547" height="1079" width_o="1547" height_o="1079" data-src="https://freight.cargo.site/t/original/i/896888a222905ef50ee1bda44b3249d56e831659339fdaa569a845bcf836b567/082624scan-Landscape-4_Night-Wind_300dpi_detail-2.jpg" data-mid="217145802" border="0" alt="Landscape 4: Night Wind (2016-2024), gouache on etching,frame size: 34 x 45 cm / 13.4 x 17.8 in, image size: 18.6 x 25.7 cm / 7.3 x 10.1 in, edition of 1/1" data-caption="Landscape 4: Night Wind (2016-2024), gouache on etching,frame size: 34 x 45 cm / 13.4 x 17.8 in, image size: 18.6 x 25.7 cm / 7.3 x 10.1 in, edition of 1/1" src="https://freight.cargo.site/w/1000/i/896888a222905ef50ee1bda44b3249d56e831659339fdaa569a845bcf836b567/082624scan-Landscape-4_Night-Wind_300dpi_detail-2.jpg" /> Landscape 4(2).—A group of creatures with long, slender tendrils that sway gently in the air, drift aimlessly across the endless ocean. These seemingly weightless creatures are on a ceaseless quest to find a suitable plot of land to settle. As they travel, their tendrils stretch out, searching for signs of solid ground or suitable spots to take root. Although no clear destination is in sight, they continue their endless wandering slowly and sincerely as they explore the vast ocean. Landscape 4(2).—공중에 부드럽게 흔들리는 길고 가느다란 덩굴손을 가진 한 무리의 생물들이 끝없이 펼쳐진 바다를 가로지르며 정처 없이 표류한다. 아주 가벼워 보이는 이 생물들은 정착하기에 적합한 땅을 끊임없이 탐색하고 있다. 그들의 여행에서 그들의 덩굴손은 견고한 지반의 흔적이나 뿌리를 내릴 수 있는 적절한 지점을 찾으며 뻗어나간다. 뚜렷한 목적지가 보이지 않는 상황이지만, 그들은 광대한 바다를 탐험하며 느리고 진정성 있는 움직임으로 끝없는 방황을 계속한다. <img width="806" height="1098" width_o="806" height_o="1098" data-src="https://freight.cargo.site/t/original/i/1db973b4f29a51d8dbca2297c6b0194a7a8156bf9232233ee9cc8388c6502dea/082624scan-Landscape-2_Grotto-4_300-dpi_detail-2.jpg" data-mid="217145851" border="0" alt="Landscape 2: Grotto 4 (2016-2024), gouache on etching, frame size: 45.5 x 35.5 cm / 17.9 x 14 in, image size: 18.5 x 14 cm / 7.3 x 5.5 in, edition of 1/1 " data-caption="Landscape 2: Grotto 4 (2016-2024), gouache on etching, frame size: 45.5 x 35.5 cm / 17.9 x 14 in, image size: 18.5 x 14 cm / 7.3 x 5.5 in, edition of 1/1 " src="https://freight.cargo.site/w/806/i/1db973b4f29a51d8dbca2297c6b0194a7a8156bf9232233ee9cc8388c6502dea/082624scan-Landscape-2_Grotto-4_300-dpi_detail-2.jpg" /> Landscape 2.—Grotto Landscape 2.—해식동굴 <img width="1098" height="1562" width_o="1098" height_o="1562" data-src="https://freight.cargo.site/t/original/i/6d80a37172663310b0815d9af29250d7d826abba6880c6a299ef567492264506/082724-Landscape-6_Seashore-2_-300-dpi_crop2.jpg" data-mid="217148020" border="0" alt="Landscape 6: Seashore 2 (2016-2024), gouache on etching, frame size: 45.4 x 33.7 cm / 17.9 x 13.3 in, image size: 26.5 x 19 cm / 10.4 x 7.4 in, edition of 1/1&nbsp;" data-caption="Landscape 6: Seashore 2 (2016-2024), gouache on etching, frame size: 45.4 x 33.7 cm / 17.9 x 13.3 in, image size: 26.5 x 19 cm / 10.4 x 7.4 in, edition of 1/1&nbsp;" src="https://freight.cargo.site/w/1000/i/6d80a37172663310b0815d9af29250d7d826abba6880c6a299ef567492264506/082724-Landscape-6_Seashore-2_-300-dpi_crop2.jpg" /> <img width="1093" height="1564" width_o="1093" height_o="1564" data-src="https://freight.cargo.site/t/original/i/8615da299f2a807a8d6d913c431e35b4efa407618a57ba393cbfbe302c79a4c6/082624scan-Landscape-6_Seashore-4_300dpi_detail-2.jpg" data-mid="217148019" border="0" alt="Landscape 6: Seashore 4 (2016-2024), gouache on etching, frame size: 45.4 x 33.7 cm / 17.9 x 13.3 in, image size: 26.5 x 19 cm / 10.4 x 7.4 in, edition of 1/1&nbsp;" data-caption="Landscape 6: Seashore 4 (2016-2024), gouache on etching, frame size: 45.4 x 33.7 cm / 17.9 x 13.3 in, image size: 26.5 x 19 cm / 10.4 x 7.4 in, edition of 1/1&nbsp;" src="https://freight.cargo.site/w/1000/i/8615da299f2a807a8d6d913c431e35b4efa407618a57ba393cbfbe302c79a4c6/082624scan-Landscape-6_Seashore-4_300dpi_detail-2.jpg" /> Landscape 6 (1).—On the sandy shore, there is a giant, insect-like creature with an exoskeleton that is engulfed in flames. The creature's legs and body twitch as it tries to extinguish the fire, but the flames spread quickly. This creature has evolved to avoid water. It may have evolved to survive by preying on other creatures living in harsh deserts or arid regions. It is unclear if it managed to survive the flame. Landscape 6 (1).—단단한 외골격을 가진 곤충처럼 생긴 큰 생명체가 바닷가에서 불길에 휩싸여 있다. 불을 끄기 위해 다리와 몸을 경련하듯이 움직이지만 불길은 빠르게 퍼진다. 이 생명체는 물을 피하도록 진화해왔다.어쩌면 혹독한 사막이나 건조한 지역에 사는 다른 생명체를 잡아 먹으며 생존하도록 진화했는지도 모른다. 그가 불길에서 살아남을 수 있었는지는 불분명하다. <img width="3341" height="2591" width_o="3341" height_o="2591" data-src="https://freight.cargo.site/t/original/i/beda10a81d35bb5bb015b19b473b4c45727a3dd198cd61e2c375c135a98db135/2016.4.20_-landscape-yellow.jpg" data-mid="217148396" border="0" alt="Landscape 1: Cliff (2016), etching, frame size: 33.3 x 45.5 cm / 13.1 x 17.9 in, image size: 14 x 18.2 cm / 5.5 x 7.2 in, edition of 1/1 " data-caption="Landscape 1: Cliff (2016), etching, frame size: 33.3 x 45.5 cm / 13.1 x 17.9 in, image size: 14 x 18.2 cm / 5.5 x 7.2 in, edition of 1/1 " src="https://freight.cargo.site/w/1000/i/beda10a81d35bb5bb015b19b473b4c45727a3dd198cd61e2c375c135a98db135/2016.4.20_-landscape-yellow.jpg" /> Landscape 1.—On a sea cliff with nowhere to escape, a creature resembling a tree is cornered by a predator. Despite the howling wind, the waves crash peacefully against the rocky shore. Landscape 1.—작은 나무 같은 생명체가 바닷가 절벽에서 사나운 포식자에게 포위당했다. 이제 도망갈 곳도, 숨을 곳도 없이 궁지에 몰렸다. 바람은 울부짖지만 파도는 잔잔하게 바위 해안에 부딪힌다. <img width="1121" height="1525" width_o="1121" height_o="1525" data-src="https://freight.cargo.site/t/original/i/2e0070008ffd441163ebb6d389acd0be0bab47aa897c655229ae87b253d35301/082724edit-Landscape-6_Cliff-1_300-dpi_crop2.jpg" data-mid="217673764" border="0" alt="Landscape 6: Cliff 1 (2016-2024), gouache on etching, frame size: 45.4 x 33.7 cm / 17.9 x 13.3 in, image size: 26.5 x 19 cm / 10.4 x 7.4 in, edition of 1/1&nbsp;" data-caption="Landscape 6: Cliff 1 (2016-2024), gouache on etching, frame size: 45.4 x 33.7 cm / 17.9 x 13.3 in, image size: 26.5 x 19 cm / 10.4 x 7.4 in, edition of 1/1&nbsp;" src="https://freight.cargo.site/w/1000/i/2e0070008ffd441163ebb6d389acd0be0bab47aa897c655229ae87b253d35301/082724edit-Landscape-6_Cliff-1_300-dpi_crop2.jpg" /> Landscape 6 (2).—The polluted haze blocked the sunlight necessary for photosynthesis. Plants could not produce the energy needed to survive, and leaves absorbed contaminants in the fog, causing damage and deformation to the cells and tissues of the plants. Landscape 6 (2).—오염된 안개가 광합성에 필요한 햇빛이 식물에 도달하는 것을 막았다.식물은 생존에 필요한 에너지를 생산할 수 없게 되었고, 잎사귀가 안개 속의 오염 물질을 흡수하여 식물의 세포와 조직에 손상과 변형을 일으켰다. Landscapes is a series of ten etching plates, each printed in multiple variations. Each image depicts fictional creatures evolving in a world that inevitably leads to their demise, posing an existential question about the relationship between the physical self and the world.&nbsp; These fictional organisms are designed by synthesizing traits of humans, animals, and plants, drawing on Darwin’s theory of evolution. In a simulated world that drives them toward their demise, each image captures a pivotal moment of their downfall. Through repeated encounters with danger and death, the creatures adapt, mutate, and evolve, reshaping their bodies and perception of the world. Printmaking—a medium grounded in repetition and duplication—deepens this narrative. Inspired by Nietzsche’s Eternal Recurrence (Ewige Wiederkunft), the Landscapes series forms a nuanced allegory for the recursive existential suffering and the sensations that transcend it. *The title and format of the Landscapes series are informed by the tradition of landscape etchings, particularly that of the Danube School—a collective of 16th-century artists from Bavaria and Austria renowned for their landscape etchings. My project draws upon this tradition, employing etching techniques and small-scale formats to establish a temporal connection between past and present, thus creating a paradoxical intersection of time and space through the medium. 가상의 생명체가 미지의 세계에서 죽음을 통해 진화하는 장면을 그린 Landscapes 연작은 물리적 존재인 "나"와 세계의 관계를 은유적으로 보여준다. 10개의 동판을 바탕으로 각 이미지를 다양하게 변주하는 여러 점의 에디션으로 구성된 Landscapes 연작은 진화론, 동식물의 특성, 해부학적 이미지를 바탕으로 창조된 가상의 생명체들이 그들의 죽음을 유도하도록 설계된 가상 세계 속에서 죽는 순간을 포착한다. 이들은 반복되는 위험과 죽음을 겪으며 신체적 조건을 변화시키고 그 진화는 곧 외부 세계를 인식하는 새로운 물리적 감각 체계를 만들어낸다. 생존을 위해 주변 환경에 적응하며 진화한 생명체가 다시 죽음을 맞이하는 이야기는 이미지의 복제가 가능한 판화 매체의 특성과 결합하여 계속해서 반복된다. 나의 사적인 삶, 니체의 영원 회귀 개념과 판화 매체의 특성에서 비롯하여 만들어진 Landscapes 연작은 삶을 살아가며 경험하는 되풀이되는 실존적인 불안과 그를 초월하는 감각에 대한 정교한 은유를 만들어낸다. © Doi Kim 2024 https://doikim.com/Project-Pearls-2021-2024 Thu, 13 Jul 2023 16:18:28 +0000 Doi Kim https://doikim.com/Project-Pearls-2021-2024 Project Pearls2024 <img width="1988" height="1326" width_o="1988" height_o="1326" data-src="https://freight.cargo.site/t/original/i/8a24fc2d5e60f398bf874e95681f345aa79ae7908f7f58357f8339f2b8a6d0ba/082724-Pearls-1_Secondary-Structure_300-dpi-detail-1.jpg" data-mid="217096187" border="0" alt="Pearls 1 (Secondary Structure) (detail), 2021-2024, acrylic and CMYK silkscreen on Somerset Satin paper, 91.44 x 76.2 cm / 36 x 30 in" data-caption="Pearls 1 (Secondary Structure) (detail), 2021-2024, acrylic and CMYK silkscreen on Somerset Satin paper, 91.44 x 76.2 cm / 36 x 30 in" src="https://freight.cargo.site/w/1000/i/8a24fc2d5e60f398bf874e95681f345aa79ae7908f7f58357f8339f2b8a6d0ba/082724-Pearls-1_Secondary-Structure_300-dpi-detail-1.jpg" /> Project Pearls, comprising twelve CMYK silkscreen paintings and an etching, examines the psychological experience of an individual amid intersecting socio-political conflicts. Project Pearls emerged from my experience as an Asian woman during the 2020 pandemic, when the pandemic intensified racial associations that marked nonwhite and non-American identities as alien irritants. The work depicts fictional pearl creatures derived from the pearl formation process, the psychological self-defense mechanism, and protein structure. Informed by Donna Haraway’s Situated Knowledges, it engages with the discourse of Otherness by reworking the epistemic and social processes by which racialized and marginalized subjectivities are formed. I.A pearl forms when an irritant enters an oyster, mussel, or clam. The organism repeatedly coats the intruder with a fluid composed of nacre (mother-of-pearl) until it becomes invisible, eventually forming a pearl. This process parallels repression, a psychological defense mechanism, in which traumatic or unacceptable experiences are pushed out of consciousness. Building on this analogy, I created fictional pearl creatures that serve as a metaphor for selves that carry repressed memories or trauma from being stigmatized as the Other. The etching Surface depicts the outer layer of the pearl creature, serving as an entry point into the project's narrative. At the societal level, pearl formation becomes a metaphor for the immune response that dominant communities activate to neutralize or obscure heterogeneous individuals and collectives. The ecosystem of Project Pearls reveals the fragile balance between inclusion and exclusion, probing the complex relationship among the individual, identity, and society. II.The creatures further transform following Primary, Secondary, Tertiary, and Quaternary protein structures. As proteins form the basis of the body and respond to external stimuli, their transformation becomes a metaphor for bodily fluidity and the deep interconnection of mental and physical experience. The combined metaphors of pearl and protein encompass both psychological and corporeal dimensions of identity shaped by socio-political tensions. III.In Pearls: Hemoglobin, the transmuted creatures form a hemoglobin cell, mourning the bloodshed fueled by social anxieties. Yet, just as hemoglobin carries oxygen throughout the body, the work stands as a monument to a more inclusive society, where the collective body of society can breathe and survive. Amid social tragedy and anxiety, Project Pearls turns to the subconscious, where emotions continually contend with external pressures. This speculative ecosystem invites viewers to confront their own experiences and to mend the repressed memories they carry.*The creation process integrates multiple techniques. The creature’s form is modeled in Blender 3D, rendered as a halftone image in Photoshop, printed in CMYK silkscreen on printmaking paper, and reworked with acrylic paint. The layered silkscreen process and intermittently visible halftone dots visualize the accumulated contexts and memories that shape one’s sense of self. CMYK 실크스크린 기법을 활용해 제작된 12점의 회화 작품과 판화 프로젝트로 구성된 Project Pearls는 다양한 사회정치적 갈등이 교차하고 충돌하는 환경 속에서 개인의 심리적 경험을 탐구한다. 이 작품은 진주 형성 과정, 심리적 자기방어 기제, 그리고 생물학적 단백질 구조라는 세 가지 요소를 조합하여 만들어낸 가상의 생태계를 그린다. I.진주는 조개 내부에 이물질이 침입했을 때 형성된다. 이에 반응하여 조개는 방어를 위해 진주층으로 구성된 액체를 분비해 이물질을 여러 겹으로 감싸고, 이 과정을 반복하여 이물질이 완전히 보이지 않을 때까지 퇴적되면 진주가 만들어진다. 이러한 진주 형성 과정은 이질적으로 느껴지는 환경, 타인에 대한 기억이나 트라우마와 같은 외부 자극을 내면화하는 심리적 방어 기제, 억압의 방어기제와 닮았다. 억압의 방어기제란 낯설거나 트라우마적인 경험을 내면화할 때 발생하는 불쾌한 기억, 욕망, 충동들을 의식에서 분리하여 무의식 속으로 눌러 넣어 버리는 것이다. 이 개념을 사회적 차원으로 확장하면 진주 형성 과정은 타자화된 개인이나 집단을 대상으로 하는 면역 반응의 은유로서 작동한다. 나는 이를 바탕으로 진주와 같은 물질에 갇힌 이물질의 집합으로 구성된 가상의 진주 생물을 만들어냈다. 이 생물의 표면을 클로즈업하여 표현한 에칭 프로젝트 Surface는 작품의 서사를 구체화한다. II.이 생물은 생물학적 단백질 구조의 1차, 2차, 3차, 4차 변화를 통해 유기적으로 얽히고 변형된다. 단백질은 우리 몸을 구성하고 외부 자극에 반응하여 변화한다. 단백질은 다양한 생명체로 진화하기에 유동적인 신체에 대한 비유가 되며 정신적 경험과 물리적 신체 사이의 상호 연결성 또한 강조한다. Project Pearls는 이렇듯 진주 형성 과정과 단백질의 은유를 조합하여 타자화와 이에 대한 심리적, 물리적 경험에 대한 우화를 만들어낸다. 가상의 진주 생물이 거주하는 이 가상의 생태계는 개인적, 그리고 사회적 차원에서의 수용과 배제 사이의 미묘한 균형을 드러내어 정체성, 즉 개인의 자아와 사회 사이의 관계에 대한 화두를 던진다. III.이 프로젝트는 2020년에 뉴욕에 체류하는 동양인 여성으로서의 나의 경험을 토대로 전 지구적인 팬데믹으로 인해 강화된 국가적, 문화적, 인종적 혐오와 다층적인 심리적 환경에 대한 성찰로서 고안되었다. Pearls: Hemoglobin은 헤모글로빈의 단백질 구조에 따라 변형된 진주 생물의 집합을 묘사하여 사회적 불안으로 인한 유혈 사태의 회생자들을 기억하고 애도한다. 신체 곳곳으로 산소를 운반하는 혈액 속 헤모글로빈처럼, Pearls: Hemoglobin은 이러한 사건을 기억하며 포용적인 사회를 만드는 것이 집단적인 신체, 즉 사회 전체가 다시 숨 쉬고 생존할 수 있도록 하는 조건임을 상기시킨다.&nbsp; 사회적 비극과 불안 속에서 Project Pearls는 감정이 외부 자극과 지속적으로 대립하는 잠재의식의 영역을 탐구한다. 이 작업이 만들어내는 가상의 공간은 관람자로 하여금 자신의 경험을 되돌아보며 질문하고 그들이 가진 억압된 기억을 치유하도록 초대한다. * 이 작업은 다양한 매체와 기법을 활용하여 만들어졌다. 일단 뼈대가 되는 원형과 나선형 구조는 3D 모델링 프로그램인 블렌더 3D를 사용하여 만들어졌다. 이후 포토샵을 활용해 색을 입히고 판화 작업을 위해 하프톤 이미지로 변형하여 CMYK 실크스크린 기법을 이용해 판화지에 찍어낸 후 아크릴 등 회화 매체를 사용해 구체적인 형태를 묘사했다. 회화로 표현된 이미지 사이로 산발적으로 보이는 실크스크린의 하프톤 점은 신체의 유동성에 대한 암시와 동시에 개인의 자아 감각을 형성한 억압된 기억의 축척을 시각화한다. <img width="1850" height="2201" width_o="1850" height_o="2201" data-src="https://freight.cargo.site/t/original/i/bf6d1b710a31122c9a2adf94a723ee0ea6d7c77f71611c959c25e32f1ca94ab4/150-111824-Pearls-2-Primary-Structure-350-dpi.jpg" data-mid="222014696" border="0" src="https://freight.cargo.site/w/1000/i/bf6d1b710a31122c9a2adf94a723ee0ea6d7c77f71611c959c25e32f1ca94ab4/150-111824-Pearls-2-Primary-Structure-350-dpi.jpg" /> <img width="2338" height="1559" width_o="2338" height_o="1559" data-src="https://freight.cargo.site/t/original/i/21df33f7ac1dfa3e9817d5980ebb1cbbd95135a1936bc48db7e386cb35b9847a/150-111824-Pearls-2-Primary-Structure-detail-350-dpi.jpg" data-mid="222014695" border="0" alt="Pearls 2 (Primary Structure) 2021-2024, acrylic and CMYK silkscreen on Somerset Satin paper, 91.44 x 76.2 cm / 36 x 30 in" data-caption="Pearls 2 (Primary Structure) 2021-2024, acrylic and CMYK silkscreen on Somerset Satin paper, 91.44 x 76.2 cm / 36 x 30 in" src="https://freight.cargo.site/w/1000/i/21df33f7ac1dfa3e9817d5980ebb1cbbd95135a1936bc48db7e386cb35b9847a/150-111824-Pearls-2-Primary-Structure-detail-350-dpi.jpg" /> <img width="2112" height="2504" width_o="2112" height_o="2504" data-src="https://freight.cargo.site/t/original/i/1880b544f88f56ba44abdb1b58d6d829db05f53dce9a1e65e0500cd2c581bfdf/150-111824-Pearls-2-Secondary-Structure-350-dpi.jpg" data-mid="222014698" border="0" src="https://freight.cargo.site/w/1000/i/1880b544f88f56ba44abdb1b58d6d829db05f53dce9a1e65e0500cd2c581bfdf/150-111824-Pearls-2-Secondary-Structure-350-dpi.jpg" /> <img width="2260" height="2041" width_o="2260" height_o="2041" data-src="https://freight.cargo.site/t/original/i/82700ecb3dbd3310c2656b2fd8098470b83a73c84aade72826f4e4ea1d1167c9/150-111824-Pearls-2-Secondary-Structure-detail-2-350-dpi.jpg" data-mid="222014753" border="0" alt="Pearls 2 (Secondary Structure) 2021-2024, acrylic and CMYK silkscreen on Somerset Satin paper, 91.44 x 76.2 cm / 36 x 30 in" data-caption="Pearls 2 (Secondary Structure) 2021-2024, acrylic and CMYK silkscreen on Somerset Satin paper, 91.44 x 76.2 cm / 36 x 30 in" src="https://freight.cargo.site/w/1000/i/82700ecb3dbd3310c2656b2fd8098470b83a73c84aade72826f4e4ea1d1167c9/150-111824-Pearls-2-Secondary-Structure-detail-2-350-dpi.jpg" /> <img width="1642" height="2757" width_o="1642" height_o="2757" data-src="https://freight.cargo.site/t/original/i/9ad51334c99884e53b39baa3e5ba6033ee50fc325ecf4dd5e66b038bd6782a02/150-111824-Pearls-2-Tertiary-Structure-350-dpi.jpg" data-mid="222014754" border="0" src="https://freight.cargo.site/w/1000/i/9ad51334c99884e53b39baa3e5ba6033ee50fc325ecf4dd5e66b038bd6782a02/150-111824-Pearls-2-Tertiary-Structure-350-dpi.jpg" /> <img width="2394" height="1622" width_o="2394" height_o="1622" data-src="https://freight.cargo.site/t/original/i/55eb27f11ed65adf3a963f49592098f5ff9e44061a3371ca03c0f22ab85c5a94/150-111824-Pearls-2-Tertiary-Structure-detail-1-350-dpi-copy.jpg" data-mid="222014760" border="0" alt="Pearls 2 (Tertiary Structure) 2021-2024, acrylic and CMYK silkscreen on Somerset Satin paper, 152.4 x 91.44 cm / 60 x 36 in" data-caption="Pearls 2 (Tertiary Structure) 2021-2024, acrylic and CMYK silkscreen on Somerset Satin paper, 152.4 x 91.44 cm / 60 x 36 in" src="https://freight.cargo.site/w/1000/i/55eb27f11ed65adf3a963f49592098f5ff9e44061a3371ca03c0f22ab85c5a94/150-111824-Pearls-2-Tertiary-Structure-detail-1-350-dpi-copy.jpg" /> <img width="2823" height="1802" width_o="2823" height_o="1802" data-src="https://freight.cargo.site/t/original/i/42ed9fa39a7d2dd68bbd866abb34675c3d63045ef7c30ef073a727b851b791ac/150-111824-Pearls-2-Tertiary-Structure-detail-2-350-dpi.jpg" data-mid="222014761" border="0" src="https://freight.cargo.site/w/1000/i/42ed9fa39a7d2dd68bbd866abb34675c3d63045ef7c30ef073a727b851b791ac/150-111824-Pearls-2-Tertiary-Structure-detail-2-350-dpi.jpg" /> <img width="2524" height="2108" width_o="2524" height_o="2108" data-src="https://freight.cargo.site/t/original/i/926a7b8f0bcc308d3ce964d6897d30377cbf6cceb42196d5569a8a18b4e96679/150-111824-Pearls-1-Primary-Structure-350-dpi.jpg" data-mid="222014765" border="0" src="https://freight.cargo.site/w/1000/i/926a7b8f0bcc308d3ce964d6897d30377cbf6cceb42196d5569a8a18b4e96679/150-111824-Pearls-1-Primary-Structure-350-dpi.jpg" /> <img width="2499" height="1666" width_o="2499" height_o="1666" data-src="https://freight.cargo.site/t/original/i/af1d7ba8205d47dd92c162c992986e11a2ed5cfd4792e3e2c1d015d493114b84/150-111824-Pearls-1-Primary-Structure-detail-350-dpi.jpg" data-mid="222014766" border="0" alt="Pearls 1 (Primary Structure) 2021-2024, acrylic and CMYK silkscreen on Somerset Satin paper, 91.44 x 76.2 cm / 36 x 30 in" data-caption="Pearls 1 (Primary Structure) 2021-2024, acrylic and CMYK silkscreen on Somerset Satin paper, 91.44 x 76.2 cm / 36 x 30 in" src="https://freight.cargo.site/w/1000/i/af1d7ba8205d47dd92c162c992986e11a2ed5cfd4792e3e2c1d015d493114b84/150-111824-Pearls-1-Primary-Structure-detail-350-dpi.jpg" /> <img width="1981" height="2342" width_o="1981" height_o="2342" data-src="https://freight.cargo.site/t/original/i/5e0c67bc48cdbfe333517340bbbddbbfb435582eb8e3c9d2f44ee54eed17814f/150-082724-Pearls-1_Secondary-Structure_300-dpi-copy.jpg" data-mid="222015218" border="0" src="https://freight.cargo.site/w/1000/i/5e0c67bc48cdbfe333517340bbbddbbfb435582eb8e3c9d2f44ee54eed17814f/150-082724-Pearls-1_Secondary-Structure_300-dpi-copy.jpg" /> <img width="2543" height="1928" width_o="2543" height_o="1928" data-src="https://freight.cargo.site/t/original/i/dae3732ccc10127c87480e78ae1032f1dc1a8139af9236df0e4aa6a69b6ba956/150-24-Pearls-1_Secondary-Structure_300-dpi-detail-2-copy.jpg" data-mid="222015219" border="0" alt="Pearls 1 (Secondary Structure) 2021-2024, acrylic and CMYK silkscreen on Somerset Satin paper, 91.44 x 76.2 cm / 36 x 30 in" data-caption="Pearls 1 (Secondary Structure) 2021-2024, acrylic and CMYK silkscreen on Somerset Satin paper, 91.44 x 76.2 cm / 36 x 30 in" src="https://freight.cargo.site/w/1000/i/dae3732ccc10127c87480e78ae1032f1dc1a8139af9236df0e4aa6a69b6ba956/150-24-Pearls-1_Secondary-Structure_300-dpi-detail-2-copy.jpg" /> <img width="1501" height="2500" width_o="1501" height_o="2500" data-src="https://freight.cargo.site/t/original/i/ecaaea50bd14b80d2c342053c096ad4ab1b48da534bd297fb53f8b8627720c5e/Kim_Doi_6.jpg" data-mid="218885331" border="0" alt="Pearls 1 (Tertiary Structure) 2021-2024, acrylic and CMYK silkscreen on Somerset Satin paper, 152.4 x 91.44 cm / 60 x 36 in" data-caption="Pearls 1 (Tertiary Structure) 2021-2024, acrylic and CMYK silkscreen on Somerset Satin paper, 152.4 x 91.44 cm / 60 x 36 in" src="https://freight.cargo.site/w/1000/i/ecaaea50bd14b80d2c342053c096ad4ab1b48da534bd297fb53f8b8627720c5e/Kim_Doi_6.jpg" /> <img width="2023" height="1941" width_o="2023" height_o="1941" data-src="https://freight.cargo.site/t/original/i/fbcefaa8b7301526afad4a9b0296c03b85e3683c98e2687e5222d9989030ebc9/92724-Pearls-1-Tertiary-Structure-detail-2_150.jpg" data-mid="218895738" border="0" alt="Pearls 1 (Tertiary Structure) (detail) 2021-2024, acrylic and CMYK silkscreen on Somerset Satin paper, 152.4 x 91.44 cm / 60 x 36 in" data-caption="Pearls 1 (Tertiary Structure) (detail) 2021-2024, acrylic and CMYK silkscreen on Somerset Satin paper, 152.4 x 91.44 cm / 60 x 36 in" src="https://freight.cargo.site/w/1000/i/fbcefaa8b7301526afad4a9b0296c03b85e3683c98e2687e5222d9989030ebc9/92724-Pearls-1-Tertiary-Structure-detail-2_150.jpg" /> <img width="2166" height="1827" width_o="2166" height_o="1827" data-src="https://freight.cargo.site/t/original/i/b99e529f4f7fccc45f82c1c5a1bb3cc5d9e36e23284ffd8a43e221b5095a5998/150-111824-Pearls-3-Primary-Structure-350-dpi.jpg" data-mid="222015049" border="0" src="https://freight.cargo.site/w/1000/i/b99e529f4f7fccc45f82c1c5a1bb3cc5d9e36e23284ffd8a43e221b5095a5998/150-111824-Pearls-3-Primary-Structure-350-dpi.jpg" /> <img width="2867" height="2044" width_o="2867" height_o="2044" data-src="https://freight.cargo.site/t/original/i/902e84954a70b8b01fcf6f99a94ff84d28cd7b2c77523e512d9f89ca28e16a60/150-111824-Pearls-3-Primary-Structure-detail-2-350-dpi.jpg" data-mid="222015169" border="0" alt="Pearls 3 (Primary Structure) 2021-2024, acrylic and CMYK silkscreen on Somerset Satin paper, 91.44 x 76.2 cm / 36 x 30 in" data-caption="Pearls 3 (Primary Structure) 2021-2024, acrylic and CMYK silkscreen on Somerset Satin paper, 91.44 x 76.2 cm / 36 x 30 in" src="https://freight.cargo.site/w/1000/i/902e84954a70b8b01fcf6f99a94ff84d28cd7b2c77523e512d9f89ca28e16a60/150-111824-Pearls-3-Primary-Structure-detail-2-350-dpi.jpg" /> <img width="1890" height="2263" width_o="1890" height_o="2263" data-src="https://freight.cargo.site/t/original/i/3379646597ad2055db16d6d401924ed477224f3f0840163a3d45fc98e30b104f/150-111824-Pearls-3-Secondary-Structure-350-dpi.jpg" data-mid="222015052" border="0" src="https://freight.cargo.site/w/1000/i/3379646597ad2055db16d6d401924ed477224f3f0840163a3d45fc98e30b104f/150-111824-Pearls-3-Secondary-Structure-350-dpi.jpg" /> <img width="2121" height="3050" width_o="2121" height_o="3050" data-src="https://freight.cargo.site/t/original/i/c28775d8c38b4bef9384948817f277c74c4c641e8a1d285e989eabe8decc3cf4/150-111824-Pearls-3-Secondary-Structure-detail-350-dpi.jpg" data-mid="222015053" border="0" alt="Pearls 3 (Secondary Structure) 2021-2024, acrylic and CMYK silkscreen on Somerset Satin paper, 91.44 x 76.2 cm / 36 x 30 in" data-caption="Pearls 3 (Secondary Structure) 2021-2024, acrylic and CMYK silkscreen on Somerset Satin paper, 91.44 x 76.2 cm / 36 x 30 in" src="https://freight.cargo.site/w/1000/i/c28775d8c38b4bef9384948817f277c74c4c641e8a1d285e989eabe8decc3cf4/150-111824-Pearls-3-Secondary-Structure-detail-350-dpi.jpg" /> <img width="2474" height="2067" width_o="2474" height_o="2067" data-src="https://freight.cargo.site/t/original/i/57a0513f7282e643661054cce98cc6f2f89f621715c1cbbcdca56822bdf65d41/150-111824-Pearls-4-Primary-Structure-350-dpi.jpg" data-mid="222007691" border="0" alt="Pearls 4 (Primary Structure) 2021-2024, acrylic and CMYK silkscreen on Somerset Satin paper, 91.44 x 76.2 cm / 36 x 30 in" data-caption="Pearls 4 (Primary Structure) 2021-2024, acrylic and CMYK silkscreen on Somerset Satin paper, 91.44 x 76.2 cm / 36 x 30 in" src="https://freight.cargo.site/w/1000/i/57a0513f7282e643661054cce98cc6f2f89f621715c1cbbcdca56822bdf65d41/150-111824-Pearls-4-Primary-Structure-350-dpi.jpg" /> <img width="4898" height="5857" width_o="4898" height_o="5857" data-src="https://freight.cargo.site/t/original/i/14afb5dc0a646b2951dc9d340076d92fd0f9a9f8db4be8ab8f884c909cf0d3ab/111824-Pearls-4-Secondary-Structure-detail-350-dpi.jpg" data-mid="222007658" border="0" alt="Pearls 4 (Secondary Structure) 2021-2024, acrylic and CMYK silkscreen on Somerset Satin paper, 91.44 x 76.2 cm / 36 x 30 in" data-caption="Pearls 4 (Secondary Structure) 2021-2024, acrylic and CMYK silkscreen on Somerset Satin paper, 91.44 x 76.2 cm / 36 x 30 in" src="https://freight.cargo.site/w/1000/i/14afb5dc0a646b2951dc9d340076d92fd0f9a9f8db4be8ab8f884c909cf0d3ab/111824-Pearls-4-Secondary-Structure-detail-350-dpi.jpg" /> <img width="1889" height="3172" width_o="1889" height_o="3172" data-src="https://freight.cargo.site/t/original/i/5657d7137296b3e929eadc001c766a408cefc9a47fdcad2f1b8462ed2e9d92a7/150-111824-Pearls-3--4-Tertiary-Structure-350-dpi.jpg" data-mid="222007690" border="0" src="https://freight.cargo.site/w/1000/i/5657d7137296b3e929eadc001c766a408cefc9a47fdcad2f1b8462ed2e9d92a7/150-111824-Pearls-3--4-Tertiary-Structure-350-dpi.jpg" /> <img width="1893" height="2841" width_o="1893" height_o="2841" data-src="https://freight.cargo.site/t/original/i/68444b4cd021a5e3793e2c68615a45079993d8d6845b0baed5b33e13efe9a9d6/150-111824-Pearls-3--4-Tertiary-Structure-detail-350-dpi.jpg" data-mid="222007766" border="0" alt="Pearls 3, 4 (Tertiary Structure) 2021-2024, acrylic and CMYK silkscreen on Somerset Satin paper, 152.4 x 91.44 cm / 60 x 36 in" data-caption="Pearls 3, 4 (Tertiary Structure) 2021-2024, acrylic and CMYK silkscreen on Somerset Satin paper, 152.4 x 91.44 cm / 60 x 36 in" src="https://freight.cargo.site/w/1000/i/68444b4cd021a5e3793e2c68615a45079993d8d6845b0baed5b33e13efe9a9d6/150-111824-Pearls-3--4-Tertiary-Structure-detail-350-dpi.jpg" /> <img width="1796" height="2135" width_o="1796" height_o="2135" data-src="https://freight.cargo.site/t/original/i/2d9a4413ca12ca6e0d02104387f22ce814b67432862536f22fa1241c0b81c59b/6.jpg" data-mid="217100181" border="0" alt="Pearls: Hemoglobin,&nbsp;2021-2024, acrylic and CMYK silkscreen on Somerset Satin paper, 182.8 x 152.4 cm / 72 x 60 in" data-caption="Pearls: Hemoglobin,&nbsp;2021-2024, acrylic and CMYK silkscreen on Somerset Satin paper, 182.8 x 152.4 cm / 72 x 60 in" src="https://freight.cargo.site/w/1000/i/2d9a4413ca12ca6e0d02104387f22ce814b67432862536f22fa1241c0b81c59b/6.jpg" /> <img width="1500" height="2249" width_o="1500" height_o="2249" data-src="https://freight.cargo.site/t/original/i/6de6b52de20db89424e2ae9a5cbdbdaee49360d7736e86e0d7820971574fa824/7-2-3.jpg" data-mid="217100215" border="0" src="https://freight.cargo.site/w/1000/i/6de6b52de20db89424e2ae9a5cbdbdaee49360d7736e86e0d7820971574fa824/7-2-3.jpg" /> <img width="1326" height="1988" width_o="1326" height_o="1988" data-src="https://freight.cargo.site/t/original/i/3d2188204bdb452487f13a6f64c20ecc0b3df98c6fcdba7fd94315765d57f7cf/082724-Pearls_Quaternary-Structure_Hemoglobin_300-dpi_detail-2.jpg" data-mid="217100216" border="0" src="https://freight.cargo.site/w/1000/i/3d2188204bdb452487f13a6f64c20ecc0b3df98c6fcdba7fd94315765d57f7cf/082724-Pearls_Quaternary-Structure_Hemoglobin_300-dpi_detail-2.jpg" /> <img width="2517" height="1886" width_o="2517" height_o="1886" data-src="https://freight.cargo.site/t/original/i/52106c712a1c23122a95718bf4c8792bff16e09808eb0feb181878a6fb5d4513/1.jpg" data-mid="225046759" border="0" alt="Surface (2024), etching, image size: 44.45 x 59.7 cm, 17.5 x 23.5 in / paper size: 55.9 x 78.7 cm, 22 x 31 in" data-caption="Surface (2024), etching, image size: 44.45 x 59.7 cm, 17.5 x 23.5 in / paper size: 55.9 x 78.7 cm, 22 x 31 in" src="https://freight.cargo.site/w/1000/i/52106c712a1c23122a95718bf4c8792bff16e09808eb0feb181878a6fb5d4513/1.jpg" /> Project Pearls, comprising twelve CMYK silkscreen paintings and an&nbsp;etching, examines the psychological experience of an individual amid intersecting socio-political conflicts. Project Pearls emerged from my experience as an Asian woman during the 2020 pandemic, when the pandemic intensified racial associations that marked nonwhite and non-American identities as alien irritants. The work depicts fictional pearl creatures derived from the pearl formation process, the psychological self-defense mechanism, and protein structure. Informed by Donna Haraway’s Situated Knowledges, it engages with the discourse of Otherness by reworking the epistemic and social processes by which racialized and marginalized subjectivities are formed.A pearl forms when an irritant enters an oyster, mussel, or clam. The organism repeatedly coats the intruder with a fluid composed of nacre (mother-of-pearl) until it becomes invisible, eventually forming a pearl. This process parallels repression, a psychological defense mechanism, in which traumatic or unacceptable experiences are pushed out of consciousness. Building on this analogy, I created fictional pearl creatures that serve as a metaphor for selves that carry repressed memories or trauma from being stigmatized as the Other. The etching Surface&nbsp;depicts the outer layer of the pearl creature, serving as an entry point into the narrative of the project. At the societal level, pearl formation becomes a metaphor for the immune response that dominant communities activate to neutralize or obscure heterogeneous individuals and collectives. The ecosystem of Project Pearls reveals the fragile balance between inclusion and exclusion, probing the complex relationship among the individual, identity, and society. The creatures further transform following Primary, Secondary, Tertiary, and Quaternary protein structures. As proteins form the basis of the body and respond to external stimuli, their transformation becomes a metaphor for bodily fluidity and the deep interconnection of mental and physical experience. The combined metaphors of pearl and protein encompass both psychological and corporeal dimensions of identity shaped by socio-political tensions.The creation process integrates multiple techniques. The creature’s form is modeled in Blender 3D, rendered as a halftone image in Photoshop, printed in CMYK silkscreen on printmaking paper, and reworked with acrylic paint. The layered silkscreen process and intermittently visible halftone dots visualize the accumulated contexts and memories that shape one’s sense of self.In Pearls: Hemoglobin, the transmuted creatures form a hemoglobin cell, mourning the bloodshed fueled by social anxieties. Yet, just as hemoglobin carries oxygen throughout the body, the work stands as a monument to a more inclusive society, where the collective body of society can breathe and survive. Amid social tragedy and anxiety, Project Pearls turns to the subconscious, where emotions continually contend with external pressures. This speculative ecosystem invites viewers to confront their own experiences and to mend the repressed memories they carry. CMYK 실크스크린 기법을 활용해 제작된 12점의 회화 작품과 판화 프로젝트로 구성된 Project Pearls는 다양한 사회정치적 갈등이 교차하고 충돌하는 환경 속에서 개인의 심리적 경험을 탐구한다. 이 작품은 진주 형성 과정, 심리적 자기방어 기제, 그리고 생물학적 단백질 구조라는 세 가지 요소를 조합하여 만들어낸 가상의 생태계를 그린다. I.진주는 조개 내부에 이물질이 침입했을 때 형성된다. 이에 반응하여 조개는 방어를 위해 진주층으로 구성된 액체를 분비해 이물질을 여러 겹으로 감싸고, 이 과정을 반복하여 이물질이 완전히 보이지 않을 때까지 퇴적되면 진주가 만들어진다. 이러한 진주 형성 과정은 이질적으로 느껴지는 환경, 타인에 대한 기억이나 트라우마와 같은 외부 자극을 내면화하는 심리적 방어 기제, 억압의 방어기제와 닮았다. 억압의 방어기제란 낯설거나 트라우마적인 경험을 내면화할 때 발생하는 불쾌한 기억, 욕망, 충동들을 의식에서 분리하여 무의식 속으로 눌러 넣어 버리는 것이다. 이 개념을 사회적 차원으로 확장하면 진주 형성 과정은 타자화된 개인이나 집단을 대상으로 하는 면역 반응의 은유로서 작동한다. 이를 바탕으로 진주와 같은 물질에 갇힌 이물질의 집합으로 구성된 가상의 진주 생물을 만들어냈다. 이 생물의 표면을 클로즈업하여 표현한 에칭 프로젝트 Surface는 작품의 서사를 구체화한다. II.이 생물은 생물학적 단백질 구조의 1차, 2차, 3차, 4차 변화를 통해 유기적으로 얽히고 변형된다. 단백질은 우리 몸을 구성하고 외부 자극에 반응하여 변화한다. 단백질은 다양한 생명체로 진화하기에 유동적인 신체에 대한 비유가 되며 정신적 경험과 물리적 신체 사이의 상호 연결성 또한 강조한다. Project Pearls는 이렇듯 진주 형성 과정과 단백질의 은유를 조합하여 타자화와 이에 대한 심리적, 물리적 경험에 대한 우화를 만들어낸다. 가상의 진주 생물이 거주하는 이 가상의 생태계는 개인적, 그리고 사회적 차원에서의 수용과 배제 사이의 미묘한 균형을 드러내어 정체성, 즉 개인의 자아와 사회 사이의 관계에 대한 화두를 던진다. III.이 프로젝트는 2020년에 뉴욕에 체류하는 동양인 여성으로서의 나의 경험을 토대로 전 지구적인 팬데믹으로 인해 강화된 국가적, 문화적, 인종적 혐오와 다층적인 심리적 환경에 대한 성찰로서 고안되었다. Pearls: Hemoglobin은 헤모글로빈의 단백질 구조에 따라 변형된 진주 생물의 집합을 묘사하여 사회적 불안으로 인한 유혈 사태의 회생자들을 기억하고 애도한다. 신체 곳곳으로 산소를 운반하는 혈액 속 헤모글로빈처럼, Pearls: Hemoglobin은 이러한 사건을 기억하며 포용적인 사회를 만드는 것이 집단적인 신체, 즉 사회 전체가 다시 숨 쉬고 생존할 수 있도록 하는 조건임을 상기시킨다. 사회적 비극과 불안 속에서 Project Pearls는 감정이 외부 자극과 지속적으로 대립하는 잠재의식의 영역을 탐구한다. 이 작업이 만들어내는 가상의 공간은 관람자로 하여금 자신의 경험을 되돌아보며 질문하고 그들이 가진 억압된 기억을 치유하도록 초대한다. * 이 작업은 다양한 매체와 기법을 활용하여 만들어졌다. 일단 뼈대가 되는 원형과 나선형 구조는 3D 모델링 프로그램인 블렌더 3D를 사용하여 만들어졌다. 이후 포토샵을 활용해 색을 입히고 판화 작업을 위해 하프톤 이미지로 변형하여 CMYK 실크스크린 기법을 이용해 판화지에 찍어낸 후 아크릴 등 회화 매체를 사용해 구체적인 형태를 묘사했다. 회화로 표현된 이미지 사이로 산발적으로 보이는 실크스크린의 하프톤 점은 존재가 고정되어 있지 않은 듯한 유동성에 대한 암시와 동시에 개인의 자아 감각을 형성한 억압된 기억의 축척을 시각화한다. Project Pearls: Silkscreen editions <img width="2165" height="1543" width_o="2165" height_o="1543" data-src="https://freight.cargo.site/t/original/i/d3b0d1478aabf99403db6df5cddddb5fbf707774f0f938f9fe2f6b29f049a924/pearls-beta-horizontal_150.jpg" data-mid="217096616" border="0" alt="Pearls &beta;, 2022, acrylic on silkscreen, 55.8 x 76.2 cm / 22 x 30 in, edition of 30" data-caption="Pearls β, 2022, acrylic on silkscreen, 55.8 x 76.2 cm / 22 x 30 in, edition of 30" src="https://freight.cargo.site/w/1000/i/d3b0d1478aabf99403db6df5cddddb5fbf707774f0f938f9fe2f6b29f049a924/pearls-beta-horizontal_150.jpg" /> <img width="1984" height="1421" width_o="1984" height_o="1421" data-src="https://freight.cargo.site/t/original/i/29d2ae92ce314a615949a500150a3d48376ae03eb04fd6b6b389a313115e7928/70-72_-Pearls---2022--acrylic-on-CMYK-silkscreen--22-x-33-in--edition-of-30---3-AP.jpg" data-mid="221478970" border="0" alt="Pearls &Gamma;, 2022, acrylic on silkscreen, 55.8 x 76.2 cm / 22 x 30 in, edition of 30" data-caption="Pearls Γ, 2022, acrylic on silkscreen, 55.8 x 76.2 cm / 22 x 30 in, edition of 30" src="https://freight.cargo.site/w/1000/i/29d2ae92ce314a615949a500150a3d48376ae03eb04fd6b6b389a313115e7928/70-72_-Pearls---2022--acrylic-on-CMYK-silkscreen--22-x-33-in--edition-of-30---3-AP.jpg" /> <img width="1133" height="765" width_o="1133" height_o="765" data-src="https://freight.cargo.site/t/original/i/61e61dd863f40b508d359b994c9fc48140b232f55b37cff846d5fe8b5de20baf/detail-2-Doi-Kim---Pearls----acrylic-on-silkscreen--76.2-x-55.8-cm.jpg" data-mid="204582028" border="0" src="https://freight.cargo.site/w/1000/i/61e61dd863f40b508d359b994c9fc48140b232f55b37cff846d5fe8b5de20baf/detail-2-Doi-Kim---Pearls----acrylic-on-silkscreen--76.2-x-55.8-cm.jpg" /> <img width="2226" height="1638" width_o="2226" height_o="1638" data-src="https://freight.cargo.site/t/original/i/681baac36c4820a5bbae5f9690ba507060779153e7083ada273721b14cd32443/150-detail_-Pearls---2022--acrylic-on-CMYK-silkscreen--22-x-33-in--edition-of-30---3-AP.jpg" data-mid="221479177" border="0" src="https://freight.cargo.site/w/1000/i/681baac36c4820a5bbae5f9690ba507060779153e7083ada273721b14cd32443/150-detail_-Pearls---2022--acrylic-on-CMYK-silkscreen--22-x-33-in--edition-of-30---3-AP.jpg" /> © Doi Kim 2024 https://doikim.com/locus Thu, 17 Jul 2025 19:13:16 +0000 Doi Kim https://doikim.com/locus 자리 Locus Venue17717, Seongbuk-dong 177-17, Seoul, South Korea Exhibition DatesMay 9th - May 31st, 2024 Curation: Doi KimSpace design: Sooin KimFloor map design: TaeJeong OhPoster design: Doi Kim, Graphic 17717English text editor: Jisun KimDocumentation: Doi KimSponsored by 17717 전시 장소17717, 서울 성북구 성북동 177-17 전시 기간2024. 5.9. – 5.31. 기획: 김도이공간 디자인: 김수인플로어 맵 디자인: 오태정포스터 디자인: Graphic 17717, 김도이영문 번역 감수: 김지선촬영: 김도이협력: 17717 Doi Kim Solo Exhibition: 자리 Locus &lt;자리 Locus (2024)&gt; explores the nuanced senses surrounding one’s position in space and time. In genetics, a “gene locus” refers to a specific location on a chromosome where a particular gene or genetic marker is situated. Borrowing from this term, &lt;자리 Locus (2024)&gt;&nbsp;utilizes the geographical location of the exhibition space—in particular, its address (Seongbuk-dong 177-17, Seoul, South Korea) as a fixed point in a mapping system—to present an inductive exploration of unique information that makes up a subject through metaphorical and visual storytelling. Stemming from an interest in evolution theory and the anatomy of sensory organs,&nbsp;&lt;자리 Locus (2024)&gt; seeks to shift the reading of our physical, socio-cultural, and political locations. Instead of viewing them as markers that exist on the continuous timeline of hegemonic history, the exhibition uses multi-layered allegories to illustrate how these identities comprise uniquely fixed and original components of who we are. To this end, the exhibition subverts the deterministic and deductive thinking that underlies socio-cultural standards and norms prevalent in modern genetic discourse, which drove the imperialistic framework represented by Eugenics, by paradoxically employing the concept of gene locus. 김도이 개인전: 자리 Locus 자리 Locus&nbsp;는 각자가 자리 잡고 있는 자신의 현재에 대한 섬세한 감각을 탐구한다. 유전학에서 유전자 자리(Gene Locus)는 특정 유전자나 유전 표지자가 위치한 염색체상의 특이적이고 고정된 위치를 말한다. 전시 자리 Locus는 ‘성북동 177-17’이라는 주소명 체계 안에 고정된 지점을 무대로 개체를 이루는 특이적인 정보에 대한 귀납적 탐구를 은유적이고 시각적인 스토리텔링으로 제시한다. 인간과 동식물의 진화 이론과 감각 기관의 해부학에 대한 관심에서 시작한 이 전시는 다층적인 알레고리를 통해 현재를 살아가는 우리의 신체적, 사회 문화적, 정치적 위치를 연속적인 사건 위에 존재하는 표지 (marker)가 아닌 각자가 특이적이고 고정된 자리 (locus)로 전환시키고자 한다.&nbsp; <img width="3389" height="2254" width_o="3389" height_o="2254" data-src="https://freight.cargo.site/t/original/i/1c414672ca2c2cdf31628f7461c331ead61da3ebd09f36757ac293c52b220fd0/11124-Locus-1--2150-dpi.jpg" data-mid="235949899" border="0" src="https://freight.cargo.site/w/1000/i/1c414672ca2c2cdf31628f7461c331ead61da3ebd09f36757ac293c52b220fd0/11124-Locus-1--2150-dpi.jpg" /> <img width="3695" height="2340" width_o="3695" height_o="2340" data-src="https://freight.cargo.site/t/original/i/acdc69b35cf338e904c90ab29be475f59f6ca729c938fc9dad8e47c8f95f5d52/11124-on-observation-retouch-1-150-dpi.jpg" data-mid="235949892" border="0" alt="On Observation, 2024, Spirulina on linen, 25.5 x 25.5 in / 65 x 65 cm each" data-caption="On Observation, 2024, Spirulina on linen, 25.5 x 25.5 in / 65 x 65 cm each" src="https://freight.cargo.site/w/1000/i/acdc69b35cf338e904c90ab29be475f59f6ca729c938fc9dad8e47c8f95f5d52/11124-on-observation-retouch-1-150-dpi.jpg" /> Learn more about On Observation (2024) here. <img width="3976" height="2652" width_o="3976" height_o="2652" data-src="https://freight.cargo.site/t/original/i/6468bb03d2d4be529f22f2b32d3dc1b66b0f83292b1055cf53bbf483dc538fd6/11124-Locus-3-150-dpi.jpg" data-mid="235949905" border="0" src="https://freight.cargo.site/w/1000/i/6468bb03d2d4be529f22f2b32d3dc1b66b0f83292b1055cf53bbf483dc538fd6/11124-Locus-3-150-dpi.jpg" /> <img width="3771" height="2516" width_o="3771" height_o="2516" data-src="https://freight.cargo.site/t/original/i/5a85579e6e2908972e7ae1d65b4acd0d09e8c50c360906f55adc8abb8a7a07d4/11124-Locus-7-150-dpi.jpg" data-mid="235949907" border="0" src="https://freight.cargo.site/w/1000/i/5a85579e6e2908972e7ae1d65b4acd0d09e8c50c360906f55adc8abb8a7a07d4/11124-Locus-7-150-dpi.jpg" /> Learn more about the series of Landscapes (2016-2024) here. <img width="2480" height="3508" width_o="2480" height_o="3508" data-src="https://freight.cargo.site/t/original/i/817c68931f5ebcee7330691134466354945da47e20411c460e685fa8b253d0ad/_green3.jpg" data-mid="235949886" border="0" src="https://freight.cargo.site/w/1000/i/817c68931f5ebcee7330691134466354945da47e20411c460e685fa8b253d0ad/_green3.jpg" /> <img width="2480" height="3508" width_o="2480" height_o="3508" data-src="https://freight.cargo.site/t/original/i/e8447c333de5c5071730806ab29b601a2a99c804f92d8790caafc8c3d7a2a198/_green2.jpg" data-mid="235949885" border="0" src="https://freight.cargo.site/w/1000/i/e8447c333de5c5071730806ab29b601a2a99c804f92d8790caafc8c3d7a2a198/_green2.jpg" /> <img width="2480" height="3508" width_o="2480" height_o="3508" data-src="https://freight.cargo.site/t/original/i/4a020730a9ad1cc72e11d23047b10890479a5f1fa5171c36fe06adf63984b41c/_green1.jpg" data-mid="235949884" border="0" src="https://freight.cargo.site/w/1000/i/4a020730a9ad1cc72e11d23047b10890479a5f1fa5171c36fe06adf63984b41c/_green1.jpg" /> <img width="3508" height="4961" width_o="3508" height_o="4961" data-src="https://freight.cargo.site/t/original/i/b25c8c0475a435cff7a37b12da8b1b0cebf2304b52eb2b12cae1030f5c691161/--_LOCUS_.jpg" data-mid="235949888" border="0" src="https://freight.cargo.site/w/1000/i/b25c8c0475a435cff7a37b12da8b1b0cebf2304b52eb2b12cae1030f5c691161/--_LOCUS_.jpg" /> © Doi Kim 2024 https://doikim.com/On-Observation Sat, 10 Feb 2024 16:20:10 +0000 Doi Kim https://doikim.com/On-Observation On Observation&nbsp; 2024 <img width="3695" height="2340" width_o="3695" height_o="2340" data-src="https://freight.cargo.site/t/original/i/25d1b8c5f881eda678b710b15bfd2d5825ba9b3f5a1e602afae48e7bd46250e3/Doi-Kim-09.jpg" data-mid="221003083" border="0" alt="On Observation installation for 자리 Locus(2024), 2024, spirulina on linen, 25.5 x 25.5 in / 65 x 65 cm each" data-caption="On Observation installation for 자리 Locus(2024), 2024, spirulina on linen, 25.5 x 25.5 in / 65 x 65 cm each" src="https://freight.cargo.site/w/1000/i/25d1b8c5f881eda678b710b15bfd2d5825ba9b3f5a1e602afae48e7bd46250e3/Doi-Kim-09.jpg" /> <img width="2862" height="2375" width_o="2862" height_o="2375" data-src="https://freight.cargo.site/t/original/i/f50911e00c68e321502f570c179762f4e7370434d2534e2bafa69f24eb18df89/Doi_Kim_On-Observation_01.jpg" data-mid="238592021" border="0" alt="Observer 1, 2024, spirulina on linen, 25.5 x 25.5 in / 65 x 65 cm" data-caption="Observer 1, 2024, spirulina on linen, 25.5 x 25.5 in / 65 x 65 cm" src="https://freight.cargo.site/w/1000/i/f50911e00c68e321502f570c179762f4e7370434d2534e2bafa69f24eb18df89/Doi_Kim_On-Observation_01.jpg" /> <img width="2781" height="2291" width_o="2781" height_o="2291" data-src="https://freight.cargo.site/t/original/i/5d82bbb6a827965fb1b2184329dac7bdf824fe611b0e6abe9baba0a4365b5314/Doi_Kim_On-Observation_02.jpg" data-mid="238592017" border="0" alt="Observation 1, 2024, spirulina on linen, 25.5 x 25.5 in / 65 x 65 cm" data-caption="Observation 1, 2024, spirulina on linen, 25.5 x 25.5 in / 65 x 65 cm" src="https://freight.cargo.site/w/1000/i/5d82bbb6a827965fb1b2184329dac7bdf824fe611b0e6abe9baba0a4365b5314/Doi_Kim_On-Observation_02.jpg" /> <img width="2800" height="2348" width_o="2800" height_o="2348" data-src="https://freight.cargo.site/t/original/i/5dbdb0dadc6e738eb35690293e02f30ff95d21205ca913bd43d3335f14756e60/Doi_Kim_On-Observation_04.jpg" data-mid="238592028" border="0" alt="Observation 2, 2024, spirulina on linen, 25.5 x 25.5 in / 65 x 65 cm" data-caption="Observation 2, 2024, spirulina on linen, 25.5 x 25.5 in / 65 x 65 cm" src="https://freight.cargo.site/w/1000/i/5dbdb0dadc6e738eb35690293e02f30ff95d21205ca913bd43d3335f14756e60/Doi_Kim_On-Observation_04.jpg" /> <img width="2700" height="2326" width_o="2700" height_o="2326" data-src="https://freight.cargo.site/t/original/i/cb3793ed6539e88c95f4baf4cb6cdb2f2451ca538ff9d21367d6ea44d708bad8/Doi_Kim_On-Observation_03.jpg" data-mid="238592026" border="0" alt="Observer 2, 2024, spirulina on linen, 25.5 x 25.5 in / 65 x 65 cm" data-caption="Observer 2, 2024, spirulina on linen, 25.5 x 25.5 in / 65 x 65 cm" src="https://freight.cargo.site/w/1000/i/cb3793ed6539e88c95f4baf4cb6cdb2f2451ca538ff9d21367d6ea44d708bad8/Doi_Kim_On-Observation_03.jpg" /> <img width="3300" height="2700" width_o="3300" height_o="2700" data-src="https://freight.cargo.site/t/original/i/faec9501ded4bd975618d9d940b4b6d804def04233b99b204e8cc9066777ce9a/Doi_Kim_On-Observation_06.jpg" data-mid="238592062" border="0" alt="Apparatus: Vision, 2024, spirulina on linen, 25.5 x 25.5 in / 65 x 65 cm each" data-caption="Apparatus: Vision, 2024, spirulina on linen, 25.5 x 25.5 in / 65 x 65 cm each" src="https://freight.cargo.site/w/1000/i/faec9501ded4bd975618d9d940b4b6d804def04233b99b204e8cc9066777ce9a/Doi_Kim_On-Observation_06.jpg" /> <img width="3032" height="2492" width_o="3032" height_o="2492" data-src="https://freight.cargo.site/t/original/i/77cd59643f1eb41528853b5c25a84f0727b3b4e419d6a02ed2424a2f0fec7c12/Doi_Kim_On-Observation_05.jpg" data-mid="238592031" border="0" alt="Three Structures of Brain, 2024, spirulina on linen, 25.5 x 25.5 in / 65 x 65 cm each" data-caption="Three Structures of Brain, 2024, spirulina on linen, 25.5 x 25.5 in / 65 x 65 cm each" src="https://freight.cargo.site/w/1000/i/77cd59643f1eb41528853b5c25a84f0727b3b4e419d6a02ed2424a2f0fec7c12/Doi_Kim_On-Observation_05.jpg" /> On Observation continues my exploration of aesthetic experience and the ways our internal systems shape perception. The work explores the imaginative dimensions of visual perception, tracing how perceptual processes and aesthetic experience mediate the relationship between the self and the world. Inspired by the sensory experience of encountering Iceland's nature, the work is a creative reflection on the act of observation itself. &nbsp; Conceived during my residency at SÍM in Reykjavík, Iceland, the work emerged while I was immersed in Iceland’s vast landscapes, prompting reflection on an ever-changing world and Earth's timeline that far exceeds human experience. The extreme brevity of daylight in January, lasting only five hours, further sharpened my awareness of the underlying conditions of our vision. The series presents imaginary spectators derived from anatomical imagery of the eye—such as the optic nerve and vitreous body (Observer 1, 2)—alongside diagrams illustrating their perceptual processes (Observation 1, 2). The Apparatus and Three Structures of the Brain references a diagram of the ocular system from the medieval Arab scholar Ibn al-Haytham’s Book of Optics. As one of the early life forms to initiate photosynthesis, a fundamentally light-sensitive process, spirulina serves as an analogue for the functioning of the human eye. By incorporating this ancient life form as pigment, On Observation reflects on the precondition of visual perception and opens toward a collective imagination that embraces the experience of both human and non-human species, underscoring the biological and perceptual processes we share.* On Observation (2024) is aligned with my long-term exploration of aesthetic experience and the act of seeing. This line of thought elucidates our internal system to perceive the outside world, the system that conditions the mode of perception and the status of entities. To learn more, please refer to Tales of Argus - 2 ½ (2018~2021) - Landscape : Lens (2020) -&nbsp; On Observation (2024). On Observation은 미적 경험과 물리적 감각 기관이 우리가 세상을 인식하고 해석하는 방식에 어떻게 영향을 미치는지에 대한 나의 지속적인 탐구를 확장한다. 이 작품은 특히 시지각 시스템이 인식의 형성 과정에 어떻게 관여하는지에 초점을 맞춘다. 자연으로부터 전달되는 비언어적인 정보를 예민하게 감지하고 내면화하는 감각적 경험을 면밀히 관찰하며 탄생한 이 작품은 관찰 행위 그 자체에 대한 사유이다. 미적 경험과 감각적 수용의 교차점에서, 이 작품은 명상적인 감각으로 우리가 어떻게 세계를 보고, 느끼고, 이해하는지를 다시 묻는다. -아이슬란드 레이캬비크의 SÍM 레지던시에서 제작된 이 작품은 아이슬란드의 광활한 자연 풍경을 관찰하면서 만들어졌다. 이 풍경을 바라보며 나는 인간의 인식 범위를 초과하는, 끊임없이 변화하는 세계와 지구적 시간을 경험하는 감각을 깊이 사색하게 되었다. 또한 5시간이라는 극단적으로 짧은 일광 시간은 시각적 인식의 시간성과 조건에 대해 더욱 깊은 성찰을 불러일으켰다. 이 작품은 시신경과 유리체 등 눈의 해부학적 이미지로 구성된 가상의 관찰자들(Observer 1, 2)과 이들의 작동 방식을 묘사한 다이어그램 (Observation 1, 2) 그리고 중세 아랍 학자 이븐 알 하이탐 (Ibn al-Haytham)의 광학서 (Book of Optics)에서 시지각 시스템을 묘사하는 다이어그램을 참조한 시지각 다이어그램 (The Apparatus, Three Structure of the Brain)을 스피룰리나를 안료로 사용하여 표현한다. 스피룰리나는 광합성을 시작한 최초의 생명체 중 하나로, 빛에 예민하게 반응하는 스피룰리나의 특성은 인간의 시각이 작동하는 방식과 유사하다. 지구상의 고대 생명체 중 하나인 스피룰리나로 표현된 관찰자의 이미지는 인간과 비인간 종이 공유하는 생물학적·감각적 경험에 대한 상상을 제시한다. * On Observation(2024)은 미적 경험과 보는 행위에 대한 나의 장기적인 탐구의 일부이다. 이는 외부 세계를 인식하는 우리의 내적 체계, 즉 감각 기관을 통한 인식 과정에 대한 사유에서 시작하였다. 나는 일련의 작업을 통해 인식 과정과 이를 내면화하는 경험에 대한 탐구를 발전시켜 세상을 경험 하는 주체의 상태를 조건화하는 감각의 체계를 해부하여 보고자 한다. 이 탐구는 Tales of Argus (2016-2018) - Gaze (2019) - 2 ½ (2018~2021) -Landscape : Lens (2020) 로 이어진다. <img width="1467" height="1362" width_o="1467" height_o="1362" data-src="https://freight.cargo.site/t/original/i/e3d23519ab5b410f50839f359fecebdfc9ccdc9d5eb49528f422b5c12118dad9/DSCF2167-copy.jpg" data-mid="207234283" border="0" src="https://freight.cargo.site/w/1000/i/e3d23519ab5b410f50839f359fecebdfc9ccdc9d5eb49528f422b5c12118dad9/DSCF2167-copy.jpg" /> <img width="4896" height="3264" width_o="4896" height_o="3264" data-src="https://freight.cargo.site/t/original/i/5b7a41b5559214ce11fb8c56887f923d8d1b78a1bcf125c27ef156ff0da1939e/On-Observation-6.JPG" data-mid="238623547" border="0" src="https://freight.cargo.site/w/1000/i/5b7a41b5559214ce11fb8c56887f923d8d1b78a1bcf125c27ef156ff0da1939e/On-Observation-6.JPG" /> <img width="4896" height="3264" width_o="4896" height_o="3264" data-src="https://freight.cargo.site/t/original/i/241f82b50cd30688c24094716bbb20f445c1d18f04d8094d14bb99ba21480071/On-Observation-5.JPG" data-mid="238623565" border="0" src="https://freight.cargo.site/w/1000/i/241f82b50cd30688c24094716bbb20f445c1d18f04d8094d14bb99ba21480071/On-Observation-5.JPG" /> <img width="4896" height="3264" width_o="4896" height_o="3264" data-src="https://freight.cargo.site/t/original/i/936911be3ee6b595e79076a0e1258f5393ad2eb49f502cec4976636a0f176dd8/On-Observation-3.JPG" data-mid="238623566" border="0" alt="Photo credit Vishaka Moretto" data-caption="Photo credit Vishaka Moretto" src="https://freight.cargo.site/w/1000/i/936911be3ee6b595e79076a0e1258f5393ad2eb49f502cec4976636a0f176dd8/On-Observation-3.JPG" /> © Doi Kim 2024 https://doikim.com/Riddle-III-2022 Fri, 04 Aug 2023 16:01:10 +0000 Doi Kim https://doikim.com/Riddle-III-2022 Riddle III (2022)Part of Riddle series (2019 - 2020 - 2022) <img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/54015b938918eb54c42a89e728dade8626b0ecbc17a77065d05a5923d10d58b9/Riddle-2022-still-image.jpg" data-mid="187030765" border="0" alt="Still image from Riddle III (2022), animation, 4 minutes 2 seconds " data-caption="Still image from Riddle III (2022), animation, 4 minutes 2 seconds " src="https://freight.cargo.site/w/1000/i/54015b938918eb54c42a89e728dade8626b0ecbc17a77065d05a5923d10d58b9/Riddle-2022-still-image.jpg" /> The Riddle series consists of five drawings (Riddle I), an installation (Riddle II: Records), and a digital animation (Riddle III). The work depicts foundational conditions and major movements in human history, using imagery that symbolizes biological and cultural transmission, migration, and the imagination projected towards the Universe. The format echoes the Voyager Golden Records launched in 1977, which carried sounds and images representing life and culture on Earth into space as a message to any potential extraterrestrial intelligence. Through these visual narratives, the work poetically unravels layers of collective history. Riddle III is a digital animation version of Riddle II: Records. To learn more about this project, please refer to Riddle II: Records (2020). Riddle 연작 (2019-2022)은 설치작품 (Riddle II: Records, 2020), 애니메이션 (Riddle III, 2022) 그리고 수채화 5점 (Riddle I, 2019)으로 구성되어 있다. Riddle 연작은 현재의 정치 문화적 상황을 구성하는 집단 서사를 시적으로 풀어내며 탐구한다. Riddle 연작은 인간의 삶의 3단계를 암시하는 스핑크스의 수수께끼와 맞물려 문화의 전승 (과거), 인간/비인간 생명체의 이주 (현재), 우주 개발에 대한 상상 (미래) 등 현재의 세계를 구성하고 있는 거시적인 요소에 대한 이미지를 제시한다. Riddle III (2022)는 2020년에 제작된 작품인 Riddle II: Records (2020)의 디지털 애니메이션 버전이다. https://doikim.com/Velvet Sun, 19 Dec 2021 20:44:34 +0000 Doi Kim https://doikim.com/Velvet Velvet&nbsp; Doi Kim Solo Exhibition: Velvet VenueChaShaMa Space (266 W 37th St, New York, NY 10018) Exhibition DatesJanuary 20 - February 6, 2023 Curation: Doi KimCoordinator: Jiwoo KimStatement Editor: Media FarzinPoster design: Doi KimSpace design: Sooin Kim, Doi KimInstallation: Doi Kim, Juhye Lim, Edmund Lee, Joony KimDocumentation: Doi Kim, Madeline ManciniSponsored by ChaShaMa Special thanks to ChaShaMa, Media Farzin, Sooin Kim, Juhye Lim, Edmund Lee, Joony Kim, JiYoung Kim, Madeline Mancini, and Felix Harlan. 김도이&nbsp;개인전: 벨벳 전시 장소 ChaShaMa Space (266 W 37th St, New York, NY 10018) 전시 기간 2023년 1월 20일 - 2월 6일 기획: 김도이 코디네이터: 김지우스테이트먼트 감수: Media Farzin 포스터 디자인: 김도이 공간 디자인: 김수인, 김도이 설치: 김도이, 임주혜, Edmund Lee, Joony Kim 촬영: 김도이, Madeline Mancini 공간 후원: ChaShaMa <img width="1440" height="1440" width_o="1440" height_o="1440" data-src="https://freight.cargo.site/t/original/i/7c10d4c8d6c920be8af973f85a8aa98275d04579d509fb242d1762e802df4ede/Doi-Kim-Solo-Exhibition-Velvet-POSTER-1.JPG" data-mid="164721166" border="0" src="https://freight.cargo.site/w/1000/i/7c10d4c8d6c920be8af973f85a8aa98275d04579d509fb242d1762e802df4ede/Doi-Kim-Solo-Exhibition-Velvet-POSTER-1.JPG" /> <img width="3000" height="3000" width_o="3000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/48a7b5ee40c9f137e66810385c0e4df1d4e01a0df66ce23a3321ff23ef855625/Doi-Kim-Solo-Exhibition-Velvet-POSTER-2.jpg" data-mid="164721230" border="0" src="https://freight.cargo.site/w/1000/i/48a7b5ee40c9f137e66810385c0e4df1d4e01a0df66ce23a3321ff23ef855625/Doi-Kim-Solo-Exhibition-Velvet-POSTER-2.jpg" /> Doi Kim:&nbsp;Velvet Doi Kim’s solo exhibition, Velvet presents works that contemplate our complex relationship with personal and collective traumas through metaphorical storytelling. This exhibition is inspired by the velvet covering a deer’s antlers: a thin layer of skin concentrated with blood vessels and nerves that carry nutrients necessary for the antler’s growth and protection. A deer’s antlers are used primarily for defensive measures, but they are also a symbol of strength and dominance, a sign of the deer’s hierarchical standing in their social group. If a deer is malnourished, injured, or stressed, blood drains out of the antlers, and the velvet layer dries and peels away, revealing the mature antler underneath. The exhibition invites viewers to imagine moments when their own “velvet” is “shed” in traumatic experiences. For instance, her painting Antler (2022) depicts the bleeding antler, shedding velvet and revealing the hardened core. It provides an entry point that leaves a clue to reflect upon how various levels of traumatic experience impact us. Kim’s virtual landscapes, depicted in animation, printmaking, and painting, invite viewers to look at personal and collective trauma differently. Her work seeks to connect various levels of “macroscopic” histories with present-day lives, to embody new perspectives on generational pain, and to consider how new insights on trauma might transform our present and future. Velvet encourages viewers to re-envision the power dynamics of their personal lives and the broader geopolitical landscape, establishing a relationship between past and present from an individual’s perspective. 김도이 개인전: 벨벳은 은유적인 스토리텔링을 통해 다양한 층위의 트라우마와 개인의 복잡한 관계를 표현한다. 성장 중인 사슴 뿔을 덮고 있는 벨벳은 뿔의 성장에 필요한 영양분을 운반하는 혈관과 감각을 곤두세워 약한 뿔을 보호하기 위한 신경이 집중된 얇은 피부와 같은 장기이다. 이 벨벳은 호르몬의 변화에 따라서나 사슴이 영양실조, 부상 또는 과도한 스트레스로&nbsp; 더이상 뿔을 자라게 할 양분을 공급하지 못할 때에 탈각된다. 이때 벨벳 층에서 피가 빠져나가고 건조되어 벗겨지면서 외부 공기와 닿아 성숙한 뿔이 완성된다. 사슴의 뿔은 주로 방어 수단에 사용되지만, 무리에서 사슴의 계층적 위치의 표지, 즉 힘과 지배의 상징이기도 하다. 전시 벨벳은 관람객들로 하여금 고통스러운 경험 속에서 그들 자신의 "벨벳"이 탈각되는 순간들을 상상하도록 초대한다. 예를 들어, 회화 작품 Antler (2022)는 벨벳이 탈각되어 드러난 피에 절은 뿔을 묘사하는데, 이는 고통스러운 경험이나 기억이 개인에게 어떤 영향을 미치는지 상상할 수 있는 이미지를 제시한다. 이어 원자력 발전소 사고에서 영감을 받아 수세대를 거쳐 영향을 미치는 거시적인 트라우마를 은유하는 영상 작품인 바스커빌의 개 (2018~2023), 모자이크 시티 또는 문화의 용광로라고도 불리는 뉴욕에서의 경험에서 비롯해 유전 정보와도 같이 계승되는 거시적이면서도 사적인 사회 집단의 트라우마를 은유하는 다섯번째 아이 연작 (2020) 등을 통해 구축된 사변적인 서사는 관람객으로 하여금 집단적이거나 개인적인 트라우마를 인식하고 다르게 보도록 초대한다. 이와 동시에 직접 몸으로 느끼는 미묘한 관찰의 순간, 생생한 현재의 순간을 인식하도록 하는 실크스크린 작품인 풍경:렌즈 (2019~2020) 연작은 과거가 구속하는 현재의 공간에 균열을 낸다. 다층적인 트라우마에 대한 관점을 구현하며 각각의 이야기를 담고 있는 작품들은 삼각형의 전시 공간이라는 물리적인 조건에 따라 완고한 결말 없이 이어지며 반복된다. 판화, 드로잉, 영상, 회화 작품으로 구성된 전시 벨벳의 내러티브는 깊은 내면의 고통과 그 원인 또는 여파에 대한 새로운 관점을 찾고 그것이 우리의 현재와 미래에 어떤 영향을 미치는지에 관찰하기 위해 과거와 현재를 연결한다. 이러한 성찰과 숙고의 과정을 통해, 전시 벨벳은 관람자로 하여금 마치 역동적으로 뿔을 성장시키고 변화하는 장기인 벨벳과도 같이 그들의 개인적 삶의 힘의 역동성뿐만 아니라 더 넓은 지정학적 풍경을 다시 상상하도록하여 개인의 관점에서 과거와 현재, 집단과 개인 사이의 관계를 재설정하며 삶을 받아들이는 다양한 방식을 상상하도록 한다. <img width="3260" height="2174" width_o="3260" height_o="2174" data-src="https://freight.cargo.site/t/original/i/50c5743ed8894cfe2228cb1ca1c92afbd4305df915593ed79f9e841ac2ad6874/130-Velvet-1.jpg" data-mid="222083811" border="0" src="https://freight.cargo.site/w/1000/i/50c5743ed8894cfe2228cb1ca1c92afbd4305df915593ed79f9e841ac2ad6874/130-Velvet-1.jpg" /> The Hound of the Baskervilles (2018-2022)Entering the exhibition, the video work The Hound of the Baskervilles (2018-2022) shows a loop of the image of the life of a hound-like creature. The detective novel The Hound of the Baskervilles, by Conan Arthur Doyle, begins with the story of the monster dog that kills the successor of the Baskerville family. In my work, the hound is a metaphor for transgenerational trauma. I am also inspired by the Fukushima nuclear disaster and its ramifications. The image in the video refers to a stylized form of medieval painting used in Giotto's frescoes,, which depicts events from different periods in one image, not a scene that takes place at one point. In the video, a four-foot monster appears&nbsp; – moving somewhere – and a couple of monsters and their offspring stare at the opposite side as they reminisce. The last scene connects to the first scene and repeats, like the unpromising wait that half-life for radioactive decay requires.&nbsp;The infinite loop of the images expresses the time and space of an endless loop of suspended life, reproducing death itself. My aim is to propose clues about how transgenerational trauma is inherited and affects the descendants. <img width="2320" height="3080" width_o="2320" height_o="3080" data-src="https://freight.cargo.site/t/original/i/5e15d8dd180f0727655c456ae4b7e2c8b60367a7f0d65edc7f5ffd9a92063b59/150-Velvet-4.jpg" data-mid="222083815" border="0" src="https://freight.cargo.site/w/1000/i/5e15d8dd180f0727655c456ae4b7e2c8b60367a7f0d65edc7f5ffd9a92063b59/150-Velvet-4.jpg" /> <img width="899" height="1617" width_o="899" height_o="1617" data-src="https://freight.cargo.site/t/original/i/2f32509ee36f9950903d3bfc5d6c2f7521ea1a3caefa84e7231cf3469f6fb193/The-Hound-of-the-Baskerville-still-3.jpg" data-mid="170095628" border="0" src="https://freight.cargo.site/w/899/i/2f32509ee36f9950903d3bfc5d6c2f7521ea1a3caefa84e7231cf3469f6fb193/The-Hound-of-the-Baskerville-still-3.jpg" /> <img width="903" height="1601" width_o="903" height_o="1601" data-src="https://freight.cargo.site/t/original/i/92bc36b7a9d179089a110be13f0d64bc946b4f60d626304e1d28ecb08d8bdf71/The-Hound-of-the-Baskerville-still-6.jpg" data-mid="170095703" border="0" src="https://freight.cargo.site/w/903/i/92bc36b7a9d179089a110be13f0d64bc946b4f60d626304e1d28ecb08d8bdf71/The-Hound-of-the-Baskerville-still-6.jpg" /> <img width="900" height="1613" width_o="900" height_o="1613" data-src="https://freight.cargo.site/t/original/i/d7ea7ae890a115eddb5dc7a31090dc102761f0d36dd8b3b7d578e27da3e7f183/The-Hound-of-the-Baskerville-still-4.jpg" data-mid="170095627" border="0" src="https://freight.cargo.site/w/900/i/d7ea7ae890a115eddb5dc7a31090dc102761f0d36dd8b3b7d578e27da3e7f183/The-Hound-of-the-Baskerville-still-4.jpg" /> The Hound of the Baskervilles (still), 2018 - 2022, Animation, 4 minutes 2 seconds The Fifth Child (2020)The Fifth Child (2020), named after Doris Lessing's 1988 novel, is a series of five lithograph prints. Each print depicts a speculative landscape in which an embryo faces the trauma of former generations while they are in their mother's womb. It also visualizes the birth of a character who can bring chaos to current social situations, a bold new identity who can challenge conservative tellings of history.&nbsp; The Fifth Child (2020) was inspired by my encounters with the cultural landscape of New York in 2019 when I first moved to the city. I observed that historic trauma forms the basis of many collective identities and shapes the city's geopolitical landscape. It made me think of how each individual aligns or builds their values amid the environment of intense interaction. In Lessing's novel, The Fifth Child, Ben, the dysfunctional fifth child of the family, gives pain to his parents from pregnancy, eventually destroying their conservative fantasies of a perfect traditional family. Reflecting upon the novel and by taking on the role of an outsider, I explore the individual and collective experiences through the eyes of an unborn being, envisioning a speculative scenario of the birth of a character who can bring chaos to current social situations.Each lithograph depicts the stage of development of an embryo, visualized using botanical and anatomical images: The Fifth Child 1 shows an image of umbilical cords.The Fifth Child 2 illustrates the formation of internal organs. The Fifth Child 3 implies the formation of a fictional character affected by transgenerational trauma by depicting the image of DNA structure.The Fifth Child 4 visualizes the formation of a fetus's muscle inside the mother's womb. The Fifth Child 5 illustrates an imaginary being ready to break out of the womb and be born into the unknown world. The trauma of the former generation is expressed as intense light, inspired by the dramatic use of chiaroscuro in baroque paintings.&nbsp; To learn more about The Fifth Child (2020), click here <img width="2985" height="1845" width_o="2985" height_o="1845" data-src="https://freight.cargo.site/t/original/i/7779b4f0cabae21e0bcf1fb2a136995bb38c3ecb5aac5675703679d4e7e78ec8/150-Velvet-3.jpg" data-mid="222083817" border="0" src="https://freight.cargo.site/w/1000/i/7779b4f0cabae21e0bcf1fb2a136995bb38c3ecb5aac5675703679d4e7e78ec8/150-Velvet-3.jpg" /> <img width="3446" height="2298" width_o="3446" height_o="2298" data-src="https://freight.cargo.site/t/original/i/f8f1d5adf81269a1ec3d9629d027c69c409881467742fd7aed9db8d9fc245b7c/130-the-fifth-detail-2.jpg" data-mid="170097253" border="0" src="https://freight.cargo.site/w/1000/i/f8f1d5adf81269a1ec3d9629d027c69c409881467742fd7aed9db8d9fc245b7c/130-the-fifth-detail-2.jpg" /> <img width="3370" height="2248" width_o="3370" height_o="2248" data-src="https://freight.cargo.site/t/original/i/4f1a7600e01e8c0221b3207ec596f654597f85fd025ccf294f234e00f3e811f9/130-the-fifth-detail-1.jpg" data-mid="170097380" border="0" src="https://freight.cargo.site/w/1000/i/4f1a7600e01e8c0221b3207ec596f654597f85fd025ccf294f234e00f3e811f9/130-the-fifth-detail-1.jpg" /> Landscape: Lens (2019-2020) and Antler (2023~)If the two bodies of works described above stated the impact of the past and speculation about the future, Landscape: Lens (2019-2020) accentuates the viewer's physical presence in the exhibition, making them aware of the present moment. Images on the mirrors are landscapes consisting of the anatomical images of the eye, such as the optic nerve, vitreous body, and retina. This work draws subtle movements of eye muscles that occur when viewers focus on the image of the work and change their focus on themselves in the mirror. The drawings on the mirrors serve as a medium, like a lens, to make the viewer aware of the moment of observation, continuously contracting and releasing the muscle around their iris. Antler 1 (2023) depicts the bleeding antler, shedding velvet and revealing the hardened core. Antler is a clue for reflecting on how various levels of traumatic experience impact us, and stresses the belief that our cells and perceptual states are dynamic and changeable, suggesting a unique way of accepting life.&nbsp; <img width="3664" height="2494" width_o="3664" height_o="2494" data-src="https://freight.cargo.site/t/original/i/2fb906f39a9f91300d2f476616181ae990795f596efb0c1c086e0d0f60f9d457/150-Velvet-7.jpg" data-mid="222091137" border="0" src="https://freight.cargo.site/w/1000/i/2fb906f39a9f91300d2f476616181ae990795f596efb0c1c086e0d0f60f9d457/150-Velvet-7.jpg" /> <img width="1931" height="1764" width_o="1931" height_o="1764" data-src="https://freight.cargo.site/t/original/i/c318f338071c33a7a15b3aff4def5e6b8153efc39c93f8c7146a78566a4cd4f5/130-Velvet-2.jpg" data-mid="222084346" border="0" alt="Antler 1, 2023 Acrylic on canvas 18x23.5 in / 45.72x59.69 cm" data-caption="Antler 1, 2023 Acrylic on canvas 18x23.5 in / 45.72x59.69 cm" src="https://freight.cargo.site/w/1000/i/c318f338071c33a7a15b3aff4def5e6b8153efc39c93f8c7146a78566a4cd4f5/130-Velvet-2.jpg" /> <img width="1578" height="2032" width_o="1578" height_o="2032" data-src="https://freight.cargo.site/t/original/i/f1344cc8485f7248015a9256c8709387e494a9b8b4c8f67d444df1cda470bc1f/130-Antler-0-detail4--2023.jpg" data-mid="170099148" border="0" src="https://freight.cargo.site/w/1000/i/f1344cc8485f7248015a9256c8709387e494a9b8b4c8f67d444df1cda470bc1f/130-Antler-0-detail4--2023.jpg" /> <img width="2267" height="3446" width_o="2267" height_o="3446" data-src="https://freight.cargo.site/t/original/i/7c84b85c4675818299e49f740cc54cec90f60126157bc934f2de8b4088c02652/130-Antler-0-detail1--2023.jpg" data-mid="170099149" border="0" src="https://freight.cargo.site/w/1000/i/7c84b85c4675818299e49f740cc54cec90f60126157bc934f2de8b4088c02652/130-Antler-0-detail1--2023.jpg" /> <img width="2703" height="2233" width_o="2703" height_o="2233" data-src="https://freight.cargo.site/t/original/i/1c834d456950725244bb2ea50cdaa97472ba0f812b90792511c7a0ebdbb66631/150-Velvet-5.jpg" data-mid="222083818" border="0" alt="Landscape: Lens 3 2019, silkscreen on mirror, 12-inch diameter / 30 cm diameter, edition of 27 + 3 AP + 1 PP" data-caption="Landscape: Lens 3 2019, silkscreen on mirror, 12-inch diameter / 30 cm diameter, edition of 27 + 3 AP + 1 PP" src="https://freight.cargo.site/w/1000/i/1c834d456950725244bb2ea50cdaa97472ba0f812b90792511c7a0ebdbb66631/150-Velvet-5.jpg" /> Altogether, the exhibition “Velvet” challenges viewers to reflect on their own experiences while inviting them to look at trauma in a different light, with curiosity. In this way, the exhibition provides a unique opportunity to connect with both history and the present moment in order to find a new perspective on deep-seated pain and its effects and gain insight into how it might affect our present and future. Through this process of reflection and contemplation, Velvet&nbsp;encourages viewers to re-envision the power dynamics of their personal lives as well as the broader geopolitical landscape, establishing a relationship between past and present. <img width="2235" height="3461" width_o="2235" height_o="3461" data-src="https://freight.cargo.site/t/original/i/c595c4c636582636f60a94fa9abed4bcc2a0f81647016a0a50306be14d09cc47/150-Velvet-6.jpg" data-mid="222087086" border="0" src="https://freight.cargo.site/w/1000/i/c595c4c636582636f60a94fa9abed4bcc2a0f81647016a0a50306be14d09cc47/150-Velvet-6.jpg" /> © Doi Kim 2023 https://doikim.com/Silhouette Sun, 19 Dec 2021 20:44:32 +0000 Doi Kim https://doikim.com/Silhouette Silhouette2021 ~ <img width="3092" height="2250" width_o="3092" height_o="2250" data-src="https://freight.cargo.site/t/original/i/4ff10956c70a3ef7aa63a46c4c5f9eb78ff8d4ab4f82f48149d1731827dd2ee2/sillu-01_100_ed-x-copy.jpg" data-mid="198429743" border="0" alt="Silhouette 01: Encyclopedia (1751-1772), Denis Diderot 2021-2022Embossment, etching, and silkscreen on printmaking paper &nbsp; paper size 22x30 inches / 76.2 x 55.8 cm, edition of 30 +3 AP" data-caption="Silhouette 01: Encyclopedia (1751-1772), Denis Diderot 2021-2022Embossment, etching, and silkscreen on printmaking paper &nbsp; paper size 22x30 inches / 76.2 x 55.8 cm, edition of 30 +3 AP" src="https://freight.cargo.site/w/1000/i/4ff10956c70a3ef7aa63a46c4c5f9eb78ff8d4ab4f82f48149d1731827dd2ee2/sillu-01_100_ed-x-copy.jpg" /> <img width="2654" height="1399" width_o="2654" height_o="1399" data-src="https://freight.cargo.site/t/original/i/a00158f32666659b3b64d3dbd35306c72cb19604d58b0998837f2f7508ddc54b/sillu-01_150-DETAIL2-copy.jpg" data-mid="198429731" border="0" src="https://freight.cargo.site/w/1000/i/a00158f32666659b3b64d3dbd35306c72cb19604d58b0998837f2f7508ddc54b/sillu-01_150-DETAIL2-copy.jpg" /> <img width="3900" height="1905" width_o="3900" height_o="1905" data-src="https://freight.cargo.site/t/original/i/bc0dd72d6722020aa51db8be1e7c1bf57b5969961b33eebb8836cbbc9d9d8896/sillu-02-_100.jpg" data-mid="198429719" border="0" alt="Silhouette 02: diffraction_Encyclopedia (1751-1772), Denis Diderot&nbsp; 2021 Embossment, etching, and silkscreen on&nbsp;printmaking paperPaper size: 31x47 in, edition of 10 + 2 AP" data-caption="Silhouette 02: diffraction_Encyclopedia (1751-1772), Denis Diderot&nbsp; 2021 Embossment, etching, and silkscreen on&nbsp;printmaking paperPaper size: 31x47 in, edition of 10 + 2 AP" src="https://freight.cargo.site/w/1000/i/bc0dd72d6722020aa51db8be1e7c1bf57b5969961b33eebb8836cbbc9d9d8896/sillu-02-_100.jpg" /> <img width="1953" height="1405" width_o="1953" height_o="1405" data-src="https://freight.cargo.site/t/original/i/88d9af84de3143fea485801335f0d1956864c6791aa93c9e662aed41a9b9f3de/sillu-02-_detail-2-130.jpg" data-mid="198429729" border="0" src="https://freight.cargo.site/w/1000/i/88d9af84de3143fea485801335f0d1956864c6791aa93c9e662aed41a9b9f3de/sillu-02-_detail-2-130.jpg" /> © Doi Kim 2021