Phenomenon of Life and Order of Structure
-on Intae Kim's works and their inside world
Written by Oh, Gwang su (Art Critic)
The works of In-tae Kim shown in the present exhibition of Jean Art Center could be divided into several categories according to the formal contents: that of the statue of Apple Mother & Child, of the forms of column in geometric structure, of the cabbage, of the fruit and vegetable organisms, and of the drawings relevant to all of them. Those categories are not new; they are the ones on which he has continuously been working until now. In a sense, the exhibition seem to try to collect and present every aspects of Kim's artistic interests in a concentrative way. I would say that , in its form, is one of the best creations of Kim's. The work could be said as the natural development of the subject of human father & son which he had dealt with Here, the forms of original human figures where the small face of son of the same structure as the bigger one is located inside that of father cut off at a right angle around the eyes are replaced by those of apples. The metaphor used for apples here, mother & child, is a subject frequently found in conventional sculptures. The modern variation inbreathes the freshness into the work. The comparative coexistence of the big and the small attracts our attention in that it, beyond the simple structure, responses not only to the phenomenon of life, but also to the representation of abundant emotions.
We could often see the vegetable-like forms as phenomena of life in Kim's works. The huge cabbage also represents the crystallization of 'plant imagination'. It is within the bounds to say that the monument-like form of the cabbage cut in the center means the pure condensation of a huge energy brought by its simplicity. By installing a specular surface at the cutting section of the cabbage, Kim experiments on the collapse of the structure of in and outside. The cutting section serves as the definite boundary between the two but, at the same time, it nullifies the level of division itself. This particular paradox represents the tension of conciliation and contention between inorganic conditions and organic variation.
Kim's plant imagination is clearly visible not just in the organic forms of vegetable but also in the proliferation of inorganic structure. It is obvious that forms like little buds sprouting from the earth and reiteration and proliferation in order of strict structure internalize the movement of creation and development as Sun-young Lee once said, "They are focused on revealing the movement of creation, development, and extinction." The connections of pieces of pipes and rectangular and triangular shapes grow into a pillar, which implies the inside structure of a huge city. However huge they look, cities are just composed of reiteration and proliferation of certain elements. Sometimes they find the their logics in the strict control and order, and some other times, the free will of phenomenon of life inside the form induces an order by itself. As the object he chooses are the shapes of vegetables which have life, Kim naturally concentrates on the phenomenon of life itself. He does not choose some extraordinary or special kinds of objects but very familiar ones such as apples, cabbages, and garlics. However, each of them has a very special factor called life. Like humans these beings are created and become extinct. Therefore, however arid and inorganic the materials Kim uses for the embodiment are, they eventually would be reborn as beings of bright and healthy metaphor by the phenomenon of life which the forms originally have. Then, an apple becomes a being as apple and non-apple at the same time, and a cabbage could be also non-cabbage. The being as apple and non-apple merely remains as an apple at the level of general appreciation. Kim's apple is created as his special type of an apple. In fact, each of Kim's apple and cabbage has a life as his own trademark.
The drawing on which he has recently been working is another straight way of expression of Kim's thoughts on making forms. Tried on plane surfaces out of all the formative orders of making three-dimensional forms, drawings give much more freedom than sculptures. That he has the ability to express as his will the eruption of phenomenon of life which once were hidden inside the forms suggests the advanced level of his art creation.
KIM INTAE
Born in Seoul , Korea
Studied at Brooklyn College , CUNY, New York
Solo Exhibitions
2010 Gallery Seohwa, Seoul
2008 Jean Art Center , Seoul
2006 Ann Graphics Gallery, Gyeonggido , Korea
2006 Horizon Gallery, Yokohama , Japan
2005 Woong Gallery, Seoul
2003 Gallery Space Pause, Tokyo , Japan
2001 Sagan Gallery, Seoul
1997 Kong-Pyoung Art Center , Seoul
1991 Gallery 2000, Seoul
Group Exhibitions
2010 "We Believe HAITI ", Seoul Auction Space, Seoul
2009 "Korean Pop"(2009 Insa Art Festival), Insa Art Center
"KIAF"(presented by Jean Gallery ), COEX, Seoul
2008 "ACAF(Asia Contemporary Art Fair)", Pier 92, New York , USA
"Garden of Delights
Selected Public Collections
Ilsan Wondang Samsung Raemian, Daegu Sungdangdong Samsung Raemian, Suwon Metandong Kolon Hanulche, Ilsan Pungdong Seoul Housing Development, National Museum of Contemporary Art, HawsungTaean Daewoo Prugio, Kihueng 5block Kolon Hanulche, Busan Eulsukdo Sculpture Park, Gwangju World Ceramic Expo-SculpturePark, Hwasung Shinyoungtong Hyundai Development Company, Bucheon Cultural Center
Apotheosis, Gloomy and Funny Praise
Today, artists are almost like inventors. They stick to something special like mission or something peculiar not performed by others. They aim at something original. It is quite apparent that the concept 'originality' is one of the most important conditions for their creative activities. The problem is the tendency to pursue such originality only and excessively. If it is an original means rather than an original essence, it is nothing other than a form. Then, it is not exaggerating to say that in either terms of technique or art work itself, 'the work' has been sold out more than 80% once it has been 'invented.' It is the moment when not an art work but a curious and interesting show is born. Since every object, behavior or even anything in the nature turns into art, there are many artists we do not know whether they are artists or art directors. Just as art works are reproduced at Andy Warhol factory, workers, engineers and students get together to produce the works efficiently. In them, it is difficult to find an artist facing the world to agonize over and explore it. Maybe, they more resemble the producers of such programs as 'Curiosity Heaven' or 'Sponge.' Upon watching such programs, we are seldom impressed. We would be more bored upon watching them repeatedly.
Before his exhibition, I happened to visit his studio in Ilsan. There, I was surprised much with two things. One was the collection of his old works which were deemed to be never sold out, and the other was the pile of hundreds of the works on walls, desks and floor. I am sorry to say, but I sighed with relief to see them seemingly appealing to only a few clients, while making a smile to see the drawings dispersed dizzily in his studio. I am still haunted by his look keeping the studio alone. He has no disciple, unlike other artists. How valuable it is to move his own limbs to make works! Isn't it a difference between factory and studio?
This time, he has changed the text slightly. So far, he has produced some artificial situations for the passive applies and cabbages, but this time, his object changes into the book or a whole of letters. I feel complex when thinking about how many stories he tells and how many implications the audience have for them. Artist' philosophical meditation on the world and his deep and far-reaching attitude toward the essence of art will be expressed intact in this 'Book Series.' For example, the art journal 'Art in America' and the Cross combined and the art work auction catalogue and the iron ring combined hint at the agony of the artist living today. This Super-Capitalism which seems to feature consumers and investors only.... The people therein who are not aware that their flesh is being rotten because they are addicted in the 'flower card' game with the art that is struggling, being twitched under the logic of market... His drawings show his ardent agony over such situation. The combination of Mao Zedong, dollar English dictionary and 'F' (fucking) may well be understood in the same context. Apotheosis or the theme of this exhibition implies such discrepancy some times and such antinomy at other times. It is a pitiable praise of the people (primarily the artists and the likes) who are being driven around in group by the stupid worship of an idol agreed to tacitly or the swirl from either Tsunami or Typhoon.
Kim Soo-han
Former curator/current drama music director
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