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글 김영미
일기를 몇 년간 쓰다 그만 두었다. 여러 가지 이유 중 하나 일기를 못 쓰는 날은 스트레스 받기 십상이다. 이유는 간단하다. 하려한 일 가운데 끝내지 못하면 그렇게 압박을 받는다. 일기도 가능한 그림일기에 가까운 것들이다. 그림으로부터 자유로워지고픈 날도 결국 일기 대신 그림 그리기로 일기를 쓰는 게 아닌가? 그러면 쓰는 대상도 결국은 그림에 관한 것들이다. 그림과 일상이 뒤얽혀 그림과 일기, 일상과 그림으로 인해 여백 없는 삶이 지속되기 일쑤다. 어쩌면 이 모든 일상이 나를 옥죄어 그림 안에서 다른 세상을 넓게 볼 기회를 스스로 빼앗아 간다는 것을 언제부턴가 깨닫게 되었다. 내 안에 갇힌 나, 백안도 피안도 그렇게 보내던 중 나는 인간에 대한 예절 사실적인 그림을 그리는 대신 동물을 작품 안에 끌어다 놓았다. 그 동물들은 내가 되고 내가 그린 인간이 되고 나의 삶이 되었다. 나는 구경꾼에서 주인공이 되어 내 그림 한 편에 등장한다. 그러고 보니 그림 안에서 세상을 온통 한 부류로 들여다보게 됨을 그제서 알게 되었다.
사람을 그리는 일 자체가 경배의 대상도 아니거니와 즉물적인 인간의 일상은 어쩌면 아주 간단한지 모르겠다. 매주 모델들이 내 작업실에 와 그들의 포즈를 구석구석 현미경으로 들이대듯 육체를 통과시킨 영혼을 훑어 그리기를 24년간 헤집고 있다. 그들의 후예들, 이후 나는 내 그림에 사실적으로 등장하던 인간에 대한 직설법을 살짝 비틀기로 하였다. 인간으로 보이는 사실적 대상을 동물로 치환하여 자연의 일부인 인간마저 동물의 시선으로 보는 것이다. 그것은 동시대 우리들의 인간성 실종에 대한 작가로서의 비틀기 원류다. 인간을 가리고 동물로 변형된 화면에 그려진 온갖 동물은 말하자면 우리의 모습이고 나이며 타인들이다. 나와 비슷한 타인과 동물로 희화된 인간들을 앉혀놓고 동물보다 못한 인간성 상실이 가져온 현대인의 이중성을 꼬집어 그렸다. 부디 동물만도 못한 인간이 아닌 진정한 인간으로 거듭 나기를 갈망하며 그린 그렇게 자유로운 영혼들이다.
상처주고, 상처받고, 치유 받지 못하는 수많은 현대인들. 어쩌면 우리 모두는 삶의 현장에서 안착하지 못한 인성을 상실한 주인공이며 디아스포라들이다. 수많은 이방인들을 모아 내 그림에 등장하는 주인공으로 발탁시켜 그들이 인간을 대신하여 똑같이 현대인처럼 움직이고 인간이 된 사람들이다. 그들을 그림으로서 인간세상의 희망이라는 것을 이야기하고 싶었다. 그것은 내 그림에 등장하는 수많은 주인공인 된 동물들에 대한 최소한의 예의인지 모르겠다. 인성을 상실하고 상처받으며 사는 우리 모두와 그리고 그림에 등장하는 나를 위해서 말이다.
Self-Portrait of Existence and Portrait of the Humankind Using Animals
Hong Kyoung-han, Editor of Kyunghyang Article
1. The aspect of our lives is sometimes heartwarming and sometimes sad nd sorrowful. Although we each silently walk the paths of our lives, we are always doubtful about life's truth and too often encounter contradiction and structural conflict of the inconsistency in our relationships with other people. We witness the process of how an individual experiences alienation(Entfernung) hidden under the shadow of the periodical label "contemporary" and how that individual's consciousness or ideology changes inside out into something different from what he or she had intended or into something completely opposite of that in the process of development through a dialectical movement. In short, ideology remains at the final stage of the "an und f?r sich" movement and human beings who deny or have lost a mental self that should be idealistic usually live on isolating themselves and instead turning outwards to nature.
I view the natural interiority of Kim Young-mi's works from a sociological perspective. I look into the essence of Kim's agony sometimes seeking to study the phenomenon of "self-alienation," sometimes pondering over various questions about human life and related matters and views on the existence of oneself. This is specifically the unstable human position in modern civilization, the seemingly inevitable situation of modern man and also the story of the artist herself who has settled down amid all this. At the same time, we can say that it is an intersection of various images that are revealed in between the roots of existence and change through the inherent meaning of nature. Of course, the animals that frequently appear In her works are symbols representing this and also primary human emotions.
2. Kim Young-mi's point-of-view is focused on the provision on contemporary civilization and phenomenon of human isolation and withholds her affection for existentialism. In fact, once the viewer sets eyes on Kim's paintings, he or she can notice the hot, burning emotions the artist experiences in everyday life roaming and lingering within the frame of existence. Kim's impressive depictions of the struggling human body in agony or installation works using LP records (which are unfortunately not exhibited this time) and the works shown here personifying animals are all very unique and individual. Though they differ in style, nonetheless, they all have something in common, which is the artist's search for meaning of existence and pacifism. By this I mean all her other works on the human body or personification of animals are representations of the human being which we can also call "dasein" and also depictions of the artist herself under the topic of "living."
Kim Young-mi's explorative attitude comes from her real life experience and her extensive reading. She is well known by friends as a bookworm. Accordingly, her works are closely related with modern ideologies of various fields including those of Spengler, Marx and Kierkegaard. Their ideas that perceive the foundation based on nature, life and human existentialism both in real life and theory are the roots of her works and also ultimately the coprodeum on which human existence and nature and life grow on. Furthermore, they are also the interior and exterior consultation through a different perspective.
As such, Kim's works based on her philosophy rooted on analyses of Heidegger's das Mann, Sartre and Camus can only yet be consultative from a perceptual aspect. To me, Kim seems to be asking and answering to herself what the "true human form" is and whether discovering one's fundamental self was possible. Young-mi's animal paintings can be regarded as the fruit of her in-depth analysis under her own will and view based on the above philosophic background.
3. The works shown here are depictions of today's human beings thrown in diverse situations and shadows of destiny under which one must make choices moment by moment and leave everything up to life to take care. The paintings also show how existence is imported it the world composed of the relationship between humans and objects and also that between individuals. The viewer can also catch how the artist treats each form of life fairly and equally. Accordingly, Kim Young-mi's art can be adopted as a signifier of naturalism and egalitarian?sm under the thesis, "a perspective on modern civilization and human isolation." One can easily notice that the effort to bridge the gap between the two is based on her assertion and practice of equality, and she properly applies animals as the means for this purpose.
Animals in Kim's works represent the loss of self identity due to interference of civilization which makes individuals and communities doubt their essence, but also, on the contrary, withhold the artist's love for naturalism, or essentialism of life. By this I'm saying that the animals symbolize the painter's heart and view that values even the smallest blade of grass. At the same time, the animals are also a detailed portrayal of the human kind. From another aspect, the creatures also play the role as symbols for knitting palimpsest self-questioning. For example, dogs in Kim's paintings are the artist's later ego and also a signifier of her affection. The foolish donkey, the hardworking and friendly cow, birds that always seem to be chirping but can only survive by flapping their wings hard and the monkey that is smart but also sly are all of a similar means.
When examined closely, the expressionless looking animals do have some kind of expression on their faces. In their faces, we encounter today, which is present progressive and always filled with so many questions. They sometimes contain negative factors of unsatisfied desires. On the other hand, their expressions also withhold joy, sadness, happiness and beauty. The animals' expressions represent the diverse human emotions. However, many of them seem to be intended to appear positive and peaceful. They give the strong impression that the bright and cheerful faces covering the gloomy look are only possible because of hope. This is the artist's future and utopia and also the true value to be conveyed to all of us.
Humans were shorn of the time to reflect on one's meaning in reality and the mind which has become a means leads man to regard oneself void of individual value and origin and notable to trust others as well as oneself. Because there is no ground for peace, love, understanding and consideration, in this age, people rarely experience the true joy of life or relationships with others as companions.
Regarding this aspect of the modern age, the painter asserts that living (through painting and reading) is happiness itself and nature, was the foundation from which we learn the origin and essence of beauty. Through friendly images of animals, Kim indirectly states that happiness and hope is in oneself though we live in a civilization of machinery among the massive public alienated and having lost one's self.
As such, Kim young-mi's works primarily adopt animals as observers of mankind but underneath there lies an awakening to the existence of the original self. In addition, the paintings also represent world of the other that we should be able to observe through true human values that must be recovered and new perspectives, or, in other words, the world of consideration and tolerance.
Kim Young-Mi
Home: Daewoo Apartment 26-302, Seongsan-Dong, Mapo-gu,
Seoul, Korea 121-250 Mobile Phone:10-6588-1848
Studio: P.O. Box 1845 Gwanghwamun,
Seoul, Korea 110-618, Tel/FAX 82-2-304-1848
e-mail : painter-kim@hanmail.net, painter1234@naver.com
Homepage : http://blog.naver.com/painter1234
Education
2009 Hongik University master’s degree in Art.
1985 Department of Fine Arts, Wonkwang University (BA in Korean Painting)
Professional Affiliations
Concurrent professor, Korea University of Foreign Studies
Korean Fine Arts Association
Seoul Fine Arts Association
Professional Experience
Lecturer at Hanseo University
Taught drawing at Chungmu Arts Academy
Solo Exhibitions
2012, Solo Exhibitions, Insa Art Center, Seoul
2009 Uhn Gallery, Frankfurt,Germany
Invitation by Phillip Kang Gallery, Seoul
2008 Invitation by Sum Art Gallery, Seoul
2006 Invitation by Kyunghyang Newspaper, Gallery Jungdong, Seoul
2005 Solo Drawing Exhibition : I Draw, Therefore I Am, Gallery Sang, Seoul
2003 The South Sea Landscapes-Sunrise Art Village, Namhae
2002 Invitation by Gallery La Mer, Seoul
Busan International Art Fair(K I A F), BEXCO, Busan
2000 Invitation by Museion Cyber Gallery, Seoul
1998 8th Chungdam Art Fair Exhibition, invited by Gallery Gasan, Seoul
1997 Kunst ist Realitat, Katholisch-Sozialen Institut der Erzdiozese, Koln, Germany
1996 Invitation by Gallery Dongzoo, Seoul
1995 Invitation by the University of Bonn,
Korea-KULTURWOCHE- Bonn, Germany
1994 Invitation by Haus der Sprache und Literatur, Bonn, Germany
1993 Kyung-In Museum of Fine Art, Seoul
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