The concepts of straight lines, straight angles, level planes, flat surfaces and width are all human inventions and do not naturally exist in the world around us. Our modern society has developed a structured and orderly system based on precise mathematical principles that essentially recreate the act of creation. Kim, without hesitation, embodies the magnetism of this material civilization through his work, particularly his Gardens series. The artist sees the garden as the ultimate example of humans shaping nature. In his created gardens, numerous lines form intricate patterns, extending both horizontally and vertically. At the end of these lines hangs an ellipsoid described as “a mass of desire mutated out of our well-ordered civilization,” polished to a mirror-like surface that reflects its surroundings dazzlingly, almost blindingly. Observing this stunning scene may lead one to exclaim that it not only impresses but also verges on sheer insanity. Through his work, the artist boldly presents the extravagance and compelling allure of material civilization, even acknowledging his own inability to escape its influence.
Is material civilization then at fault for burdening us with these emotional consequences? The artist firmly draws a line and declares this to be natural phenomenon that is beyond the paradigm of good or evil. It is viewed as the manifestation of a collective memory willingly studied and internalized by humankind in their effort to become part of the material civilization at play. In this regard, we can consider the Silent Propagation series a dedication to the qualities of regulation and order rooted in collective memory, such as communal norms, institutions, and systems. Through an installation piece composed of dynamic yet precisely curved line bundles, Kim portrays a detailed depiction of the dense and organized mode of operation established by groups, such as the mass games, air shows, and military band performances that all of us likely cheered on as children, and the emotional harmony that erupts at the climax of such events. The artist’s reflections on memory consistently show an outward expansion. For instance, the Gods series makes simple, origami-like adjustments to multiple metal plates of identical size, shape, and width, displaying them as if they were an all-encompassing presence due to their extraordinary positioning perpendicular to the surface of the water below. The rationale behind this is that our memories of the beauty and achievement of the artificial, which have been passed down from generation to generation, culminate in absolutism and blind servility to self-made values. The artist ultimately seems to call upon us to “Question everything. Do not accept your surrounding environment as is. Instead, contemplate how you view and intervene in it.”
One interesting aspect to note is how the artist’s philosophical ideas are turned into products that we observe. Kim meticulously replicates the production system that fuels modern material civilization. After the Industrial Revolution and the widespread adoption of mass production, standardized goods have become a dominant part of our daily lives. Kim actively makes us utilize the production infrastructure responsible for creating the modern conveniences we currently enjoy. To do this, he starts by focusing on manufactured parts. Instead of using ready-made strategies that involve handcrafting or repurposing existing items, Kim chooses to design and produce his own branded parts, effectively immersing himself in the modern industrial system. He assembles these mass-produced parts with precision, creating modules that are efficient and serve as building blocks to be arranged and assembled according to specific standards, eventually resulting in a completed piece of work. Kim’s firsthand experience with the system and the reasons driving civilization directly influence his creative practice.
The division of labor is a crucial part of modern society. An artist works closely with experts from various fields, such as producers, designers, engineers, architects, and structural engineers. The blueprint is essential, as it contains detailed information about the piece being created and helps to coordinate the people involved in the project. However, it is important to note that the blueprint alone isn’t enough to create the final project, as there are many variables to consider despite the accumulation of practical knowledge. Kim, like a project manager in a company, is closely involved in the production. He works with industrial materials and production methods, and oversees the project from beginning to end. Utilizing the physical and human infrastructure available in modern society has many advantages. Despite the challenges posed by the pandemic, Kim was able to supervise the on-site production and installation of his work in China while living in South Korea. After exhibition, his large pieces are dismantled into smaller components for easier transportation, and only the damaged parts need to be replaced to maintain the piece. This method ensures efficiency in managing and preserving the artwork.
In December, Kim will have a much-anticipated large-scale solo exhibition at the Arario Gallery, Seoul, with which he has an exclusive contract. Additionally, two solo shows will open in Hong Kong and Shenzen in March of next year. Kim has been generating a remarkably enthusiastic response in China as a Korean artist. He made his debut at the Arario Gallery, Shanghai in 2018, followed by consecutive solo exhibitions at the Shenyang K11 Art Space and the Wuhan K11 Art Space in 2022. In March 2025, he is scheduled to showcase two-dimensional work alongside his sculptures for the first time at the Leo Gallery, Hong Kong and present monumental work measuring up to ten meters and other experimental pieces at the Jupiter Museum of Art, Shenzen. We are eagerly anticipating the ideas that Kim will bring to life at the conclusion of this nearly three-month long period of exhibition, which will coincide with ‘Art Basel Hong Kong.’