Jinchul Kim

As we all co-exist with the unpredictable complexities in our lives, art allows me to encapsulate my life experiences with the world I constantly perceive. Thus, I endeavor to create paintings that are not mimetic, but rather an amalgamation of what I see in the lives around me and how my own peculiar circumstances have distorted these discernments. This hybrid—as I call it—of what exists and how I see it to exist has been the focal point of my sensibility. I am constantly in a struggle between these two erratic truths, and perhaps it is my physical predicament that has made this more powerful for me.

Consequently, the muse for my work is the momentary images from daily accidents that I capture into my mind. They are the random impacts and revelations that I distinguish from a casual occurrence. They are the transitional afterthoughts completely stilled in time, all of which are skewed by how I experience them and frozen in anecdotal ways for my art making process. I am not interested in approaching these hybrids with "Collage" form of physically visible procedures. I'd rather chase them by means of drastic and highly mastered formal treatments.

I use fine marks, not necessarily for constructing shapes or describing the plasticity of the image depicted, but to discard illusionary characteristics. I do not trick the process of my work with smudged illusions that are decorated by some intensities of chroma. In other words, I do not have any intention of manipulating paints or the surface of picture planes to create a rich painterly fantasy. I direct my brush marks to dissect the substance of the subject matter. So they are distributed by particles of hues, implied equality, and applied by other formal commands for their necessities. These marks may be conceptual, but to me it is my narrative calligraphy.