MEEYOUNG KIM SOLO EXHIBITION
SYNTHETIC MOMENT
SYNTHETIC
MOMENT
GALLERY HUUE X TWP SINGAPORE
MEEYOUNG KIM SOLO EXHIBITION
#11-01, ASIA SQAURE TOWER 2, 12 MARINA VIEW, SINAGPORE JUNE 2021
PREFACE BY
CRYSTAL
CHO
Gallery Huue is pleased to present a ' Synthetic Moment ' exhibition by Korean artist Meeyoung Kim, marking her first solo showcase in Singapore. She
uses
materials
from
oil
paintings
to
find
various
techniques and expresses the unique atmosphere of paint on the canvas screen. The artist's paintings abstractly express her energy through brush strokes and colors, rather than having a reproducing object, which she encounters naturally in her daily life. This energy can be an awe-inspiring moment that the artist felt or a little emotion that she felt tiny. The various senses in memory that the artist tried to capture have become a source of inspiration accumulated through continuous observation over the past few years. The medium of painting is a static genre, but the artist wants to create a moving screen. The artist thinks that what makes the beautiful scenery even more attractive is a phenomenon that proves that it is alive, such as the movement of leaves swaying in the wind, flowing water, and warm falling snow. So when She always looks at something beautiful, She thinks about putting it on the canvas with abundant inspiration from the way her eyes move from place to place, giving off vitality. There are several series in her work that has created over time. As she prepares for the exhibition, she developed the most intense techniques she wants to express, and the new series of paintings are naturally created. As this is her first solo exhibition overseas, the audience will see various series that she has worked on over the past five to six years. Initially, the conceptual landscape of painting, pushing, and redrawing with a large brush was shown. Still, recently, the use of knives has increased, consisting of tonal movements, distancing, gradation, and lumps of paint protruding outside the canvas.
The artist first paints several layers of gesso so that the paint goes up smoothly on the woven canvas and then leaves the grid using pencils and a ruler. This action is a psychological device for artists by postulating the entry of the work as a different channel. She sees the space in which she stands the world in the painting as a symbolic act of thinking of it as a door or window. In this process, the artist imagines the brush strokes, colors, and atmosphere that will fill the screen and decides which color and brush to use calmly. She prepares oil paints and materials and applies abstractly planned touches and colors to the canvas screen. In addition, this step can be described as a shipment arrangement for increasing a significant amount of paint rhythmically. The artist adds her unique abstraction by filling the entire canvas in a way that embraces unexpected effects and allows the previous color to draw, unfold, cover, and flow without drying. The artist's painterliness combined with the kind of modeling. Somewhere between her paintings and modeling, there's a resemblance to sculpture way. The depth of painting is often replaced by pictorial considerations of color, materiality, and surface rather than images. At some point, the oil paint's properties, filled with multiple layers, are reversed in order, revealing the process of filling the screen with tactile trajectories rather than epic elements. In 2017, the 'Wet on Wet' her solo exhibition described her painting as a multi-angle viewpoint, enjoying the process of turning the canvas screen into a sculptural painting, applying a large chunk of paint to the canvas, and sculpting on the plane. The artist later took an interest in how the dynamics and tension of the surface caused by paint painting on the picture plane in the solo exhibition of 'Touch of Eyes' (2020) technically treat the independent medium itself. Still, the artist's attitude can be seen as a mixture of silver and gold and white paint. "I think there's a unique language that the only panting has. The same may be true of other genres of art, but I think there is a certain power that painting has at the moment, and I believe that it has an infinite world. As I work on it, I feel emotional healing or comforting myself. I think it would be better if the audience could act as a catalyst for recalling pleasant memories rather than a clear message expressed in language while appreciating my painting. Personally, as an artist who manages painting, it's a meaningful conversation to keep attracting viewers and stopping their eyes and keeping them looking at my work. I'm always trying to make a worth work looking at for a long time." The power of painting can be conveyed to many people regardless of nationality. Artist Meeyoung spent nearly a decade learning theories and practical technics about Oriental painting and Korean painting. Ewah Women University in Korea studied Korean painting at undergraduate and graduate schools, followed by studying at the Royal College of Art in England. Currently, oil painting is used only as an ingredient, but using materials and colors in Korean painting techniques learned before studying abroad is naturally expressed. Meeyoung tries to approach the ideal standard of painting every day, constantly experimenting with various abstract painting techniques, and tries to create more beautiful and subtle paintings. We hope that art collectors, who will consider her paintings as meaningful works of art, will spread through this solo exhibition. This solo exhibition will be installed in a sharing office called The Work Project in Singapore. This venue will unveil to the public for the first time in Singapore.
The Painter's Farm, 2021, Oil on Canvas, 91 x 72 cm
The Painter's Farm (Lime and Vermilion), 2021, Oil on Canvas, 130 x 162.2 cm
The Painter's Farm (Lime and Cobalt Blue), 2021, Oil on Canvas, 91 x 117 cm
The Painter's Farm, 2021, Oil on Canvas, 91 x 117 cm
The Painter's Farm (Lime and Orange), 2021, Oil on Canvas, 72.7 x 60.6 cm
"I think there's a unique language that the only panting has. The same may be true of other genres of art, but I think there is a certain power that painting has at the moment, and I believe that it has infinite world. As I work on it, I feel emotional healing or comforting myself, and I think it would be better if the audience could act as a catalyst for recalling pleasant memories rather than a clear message that can be expressed in language while appreciating my painting. Personally, I think as a artist who manage painting, it's a meaningful conversation
to
keep
attracting
viewers
and
stopping their eyes and keeping them looking my work. I'm always trying to make a worth work looking at for a long time." < Meeyoung Kim's Artist Note>
Taste of Rose, 2021, Oil on Canvas, 72.7 x 60.6 cm
The Painter's Farm, 2021, Oil on Canvas, 91 x 72 cm
The Painter's Farm, 2021, Oil on Canvas, 91 x 72 cm
The Painter's Garden (Pink Grove), 2021, Oil on Canvas, 72.7 x 60.6 cm
Blue and Beige, 2020, Oil on Canvas, 91 x 117 cm
The Painter's Garden, 2020, Oil on Canvas, 90 x 180 cm
Mint Chocolate Wave, 2021, Oil on Canvas, 112 x 145 cm
Lemon and Blue Wave, 2021, Oil on Canvas, 117 x 91 cm
Mint and Lemon Wave, 2021, Oil on Canvas, 91 x 117 cm
Blue and Beige Wave, 2021, Oil on Canvas, 100 x 80 cm
Lemon and Violet Wave, 2021, Oil on Canvas, 100 x 80 cm
Summer Hill, 2019, Oil on Canvas, 190 x 170 cm
Summer Hill, 2019, Oil on Canvas, 190 x 170 cm
Silver Breeze, 2021, Oil on Canvas, 91 x 72 cm
Tone, 2020, Oil on Canvas, 91 x 117 cm
MEEYOUNG KIM B
1984
EDUCATION 2014 MA in Painting, Royal College of Art, London, UK 2011 MFA in Korean Painting, Ewha Womans University, Seoul Korea 2008 BFA in Korean Painting, Ewha Womans University, Seoul Korea SELECTED SOLO EXHIBITIONS 2019 Summer Hill, Noblesse Collection, Seoul, Korea 2018 Painted Painting, Gallery Kiche, Seoul, Korea 2017 Wet on Wet, Leehwaik Gallery, Seoul, Korea 2016 Sunlight House, l’espace 71, Seoul, Korea 2015 Both Sides Now, Space Chapter
Ⅱ, Seoul, Korea
Green Paintings, Sophie’s Tree, New York, U.S.A 2012 Disconnected Connection, Gallery Dos, Seoul, Korea SELECTED GROUP EXHIBITIONS 2020 Accidental Impromptu, Dohing Art, Seoul, Korea Nunc Fluens, Foundwill Art Society, Seoul, Korea 2019 Dear Plant, Soda Museum, Hwaseong, Korea Solo Show (COOP) with Artside Gallery, Seoul, Korea 2018 All Over, Hite Collection, Seoul, Korea Layered/Overlapped, AMC Lab, Seoul, Korea 2017 Intuition, Hakgojae Gallery, Seoul, Korea Nuance, Gallery Kiche, Seoul, Korea Cocoon 2017, Space K, Gwachoen, Korea 2016 Rules, ONE AND J. GALLERY, Seoul, Korea Unexpected Salon, HnART, Seoul, Korea 2014 Art Graduate Prize, Herbert Smith Free Hills, London, UK Mok Space Award, London, UK SHOW RCA, Royal College of Art, London, UK Summer Exhibition, Royal Academy of Arts, London, UK 2013 RCA Secret, Dyson Gallery, London, UK PNTG NOVEMBER, Henry Moore Gallery, London, UK Portes Ouvertes, Cité des Arts, Paris, France Nomadologies, Open Plan, London, UK Notes to Self, Dyson Gallery, London, UK Ears of Time, Shinhan Gallery, Seoul, Korea
2012 Memory Politics, Zaha Museum, Seoul, Korea 2011 Kunstdoc Artist Cluster, Kuntdoc, Seoul, Korea 2010 Wonderful Pictures, Ilmin Museum, Seoul, Korea AWARDS 2016 Cité Internationale Des Arts, Paris, France 2014 Herbert Smith Free Hills Art Graduate Prize Short Listed, London, UK Mok Space Award Finalist Listed, London, UK 2013 Paris Studio Award Winner, Royal College of Art, London, UK Cité Internationale Des Arts, Paris, France COLLECTIONS National Museum of Modern and Contemporary Art (MMCA) Art Bank, Gwacheon, Korea The Work Project Global, Singapore Restautant Evett, Seoul, Korea Hana Bank HQ, Seoul, Korea Sewoong Global, Seoul, Korea ODE Maison, Seoul, Korea Daemyung Hotel & Resort, Korea Roland Cowan Architects, London, UK Korea Rural Community Corporation, Naju, Korea Kwangjuyo HQ, Seoul, Korea Yongwon C,C, Changwon, Korea Najin Hospital, Daejeon, Korea
SYNTHETIC MOMENT MEEYOUNG KIM SOLO EXHIBITION
Gallery Huue Seoul & Singapore #11-01, Asia Square-Tower 2,12 Marina View, Singapore 018961 +82 2 2235 2822 www.galleryhuue.com Copyright concerning the exhibition leaflet belongs to Gallery Huue. No Part of this e-book may be reproduced or transmitted without writer permission from the publisher.