2007 Drawing by Kim Eull

001

Kim Eull Drawings

CONTENTS 006 010 014

The Grain of Drawing, Flesh of Fetish Yoo Kyung-hee Plate

147 149 152

Spiral of Unlimited Creation Kim Hyoungmi Plate

170 171

Biography

173 176

Caption

006

007

008

009

The Grain of Drawing, Flesh of Fetish Yoo Kyung-hee _ Art Critic / Ph.D

The Song of Presenting Flowers If you would let me leave The cattle tethered to reddish rocks, And feel no shame for me I would pluck and dedicate the flower.

I like this Shilla song very much. During the Shilla Period under the reign of King Sungdeok (702-737), Sunjeonggong became governor of Gangnung. On his way to Gangnung, his wife Suro desired azaleas from a cliff-side. The cliff was dangerous, so nobody near Suro would pluck them. However, an old man, passing with his cow, picked her the flowers, singing this song. I am specially captivated by the verse "And feel no shame for me" because I feel it as a representation of eroticism. I am in no way impressed by any logical interpretation. When this song is heard like a serenade, it gives me a great impression.

This old man is a reckless artist, uninterested in reward. His spontaneous act is equivalent to some kind of challenge to aesthetic objectivity, in which Suro's mind is the essence of beauty, more beautiful than the flowers. This is the truth an artist seeks. Kim Eull is one such artist.

A Woodcutter's Language Kim Eull works in only drawings as if he cannot speak. His drawing is words he cannot complete, painting that remains unfinished. It is like stammering. Kim's house is full with stammered drawings somehow deficient, common even incomplete. And I like these clumsy drawings, which seem drawn by a woodcutter. I knew him through these drawings.

When seeing his drawing, I feel comfort like Maha-Kassapa smiled at the lotus flower Sakyamuni had.

Man Playing with Dolls Many dolls fill Kim's house - Barbie dolls; children's dolls; and ball-jointed dolls. They are like substitutes for something, like a fetish, an improper sexual substitute. They are also like some metonymical object, supplementing original deficiency. Kim's drawing is fetishistic, created by one who cannot endure the original deficiency. No artists who are not fetishists exist. In fetishism there are two mechanisms: retrogression and narcissistic projection.

Kim's materialistic drawing is a fetish created by the artist who cannot endure such original deficiency. Kim's doll fetish is ambiguous, disclosing weird sexuality between life and death, Eros and Thanatos, an inexplicable and unutterable aura. It is like a dialogue with Pygmalion, and nostalgia for childhood. In addition, each doll is at once his alter ego and

010

the result of oppressive paranoia. His relation with each doll is not perverse, like Oska Kokoschka. In fact, there is room for Kim to engage a more dramatic, fanatic relationship with his dolls.

The Fear of Real Teardrops Teardrops are poetry excreted by the body. Kim draws many kinds, even though he does not weep. It is Kim's heart bearing the tears. When Kim once said, "I have much sorrow", I felt the emptiness of being. His drawings of tears represent a state of sorrow and laughter, grief and pleasure, each teardrop manifesting the alienation of introverted nature. They are plain, ingenuous haiku.

Man Looking into a Mirror Kim's drawings are innocent and pure: they appear unsophisticated. In many, there is a child who is surprising, spontaneous, and never gets old. Through fairytale purity, Kim articulates sorrow and grief in a light-hearted manner.

Despite the deep sorrow, his drawings affect only a vague sadness.

Kim's appearance is immanent in his drawings, through a candid gaze into his inner self. A voyage resisting forces which might destroy the subject; a struggle to retrieve the chastity and purity of a self, against some Bachelardian dream, escapism, or comfortable rest. It is not of the unconscious, automatism, or narcissistic elements. It is a desire to confirm his being. It is his existence.

Patu, or Escape Kim's drawing is unconventional: his drawing reflects his attempt not to drawing. It is closer to language than imagery; intuition than language. It is an intuitive explanation of intelligence. Kim's drawing is intuitive and simultaneously conceptual. The manifestation of a complete notion, rather than a mere line delineation. It is inward inspection projecting a self, set against conventional notions of space, representation, and illusion. With it, Kim depicts internal concepts, not external objects, and irony rises at this intersection of intuition and conception. Kim's drawing captures trivial moments, evoking witty, weird poetic tension.

Kim's drawing deconstructs painting, resulting from a fragmented self, or fragmented others. For this, Kim uses the term Patu, from Hwatu (Korean card game), instead of 'deconstruction' or 'destruction'. Patu is a nonsensical, mischievous, perverse, and derisive term in light of deconstruction ideas of hypocrisy and ostentation. It is like advice to serious, authoritative, hypocritical subjects, to be less pompous. An iconoclastic action, his drawing has the force to overthrow

011

convention. An act of playfully destructing them is juissance, pleasure within pain.

While Kim's painting is the layering of many brushstrokes, his drawing results from an idea, imagination, and the moment. His painting is layered construction, while his drawing is flatness, emptiness, and looseness. It is like a crawling on the lowest place. To paraphrase Deleuze, it is the process of nomadic thinking in rhizomic form; a vector of deterritorialization, creating a path flowing, overflowing, permeating, instead of one linear and apparently clear, grooved path. His drawing is more than an intellectual journey embracing homelessness, nomadic wandering voluntarily, accepting a rough, shabby state.

Castration and Existence Akin to discarding a God, Kim discards painting. He castrates a painful past to overcome inferiority. Kim's drawing returns him to the world of separated, banal, and microscopic objects and words, departing from the hysterics seeing painting as the fittest. It revives something drowned out by the colossal discourse and empty ideologies. Through drawing, Kim reflects on art and life comprehensively, pouring out his anguish as an artist. He shows his concern for the soul and role of the artist and art.

He constantly comes upon fragmentary thoughts on drawing and an act of drawing such as the thickness of a canvas, an heavenward canvas, a canvas on the cliff, and a house on the canvas.

Kim draws out these fragmentary thoughts to question what a painting on the wall can do, while arguing that an artist's life is hard. Through drawing Kim asks, "Why is existence important to me?" Most significant for Kim is existence, not drawing. He says, "I draw, therefore I am." His drawing articulates his existential struggle. As so, he experiences two kinds of frustration: one, maladjustment to capitalism, and the sense of urgency within it; the other, feelings of helplessness, because he cannot break away from a tedious, vulgar world, in spite of his will to be.

Pleasure of Text - An Ontological Balance I feel the grain of Kim's text. In the visual arts a text offers the pleasure of reading and making images something linguistic. Kim Eull was the artist who let me know this pleasure, but his anatomical experiment to unveil the text's desire was close to a failure. It is always an unachievable challenge to understand a man or an artist entirely. In addition, the world an artist addresses is often unknown to the public.

In this age when anything can be a work of art and nothing special to become a work of art, the artist has to choose to live a life as others voluntarily. By doing it, he becomes the subject of active practice and thinking. Kim's aesthetic sense

012

maintains life as others and simultaneously an unrestricted state from any worldly desire. Kim is a rare artist who has the ability to support his family, conscience, and dignity as an artist. In this age when 'rare' means 'outdated', his existence is still regarded precious.

Kims' drawing represents desperate wishes to be free from any ideological enforcement imposed by the mainstream art world, painting, colossal discourse, and family history. His adherence to drawing for long years recovers his gaze and sense of ontological balances. Images revive in his drawing, suggesting that he returns to a pictorial sensibility with selfcompleteness.

It is perhaps a time to escape from drawing and then return to painting. I expect Kim Eull to realize the time he has to leave. I hope Kim moves forward to the world of artistic poesie, beyond the boundaries between sensation and idea.

013

miscellaneous drawing

014

015

016

017

018

019

020

021

022

023

024

025

026

027

028

029

030

031

032

033

034

035

036

037

038

039

040

041

042

043

044

045

046

047

048

1 2

049

050

051

052

053

054

055

056

057

058

059

060

061

062

063

064

065

066

067

068

069

070

071

072

073

074

075

076

077

078

079

080

081

082

083

084

085

086

1 2

087

088

089

090

091

Very good drawing (Series 20 of 40)

092

093

094

095

096

097

098

099

100

101

102

103

104

1 2 3 4

1 2 3 4

105

Words 2004 (Series 11 of 17)

106

1 2

1 2 3

107

1

108

2 3

1 2 3

109

Presentations (Series 10 of 22)

110

1 2 3 4

1 2 3 4 5 6

111

M A D 2002 (Series 18 of 18)

1 2 3

112

4 5 6 7 8 9

1 2 3 4 5 6 7 8 9

113

Kind of Tears (Series 14 of 95)

114

1 2

1 2 3 4

115

116

1 2 3 4

1 2 3 4

117

My tools (Series 14 of 86)

118

1 2 3 4 5 6

1 3 5 7

2 4 6 8

119

Concentric circle (Series 13 of 27)

120

1 2

121

1 2

122

3 4 5

1 2 3 4 5

123

Bird (Series 10 of 10)

124

1 2 3 4 5 6 7 8 9

125

Bamdee Village (Series 7 of 25)

126

1 2 3 4 5 6

127

CCTV (Series 7 of 68)

128

1 3 4

1 2 3 4

129

Inner cover (Series 15 of 58)

130

131

132

1 2 3 4

1 2 3 4

133

134

1 2 3 4

135

My Black Drawing Book (Series 5 of 10)

136

1 2 3 4

137

Untitled (Series 5 of 20)

138

1 2 3 4

139

In India

140

141

142

1 2

143

144

1 2 3

147

148

Spiral of Unlimited Creation Kim Hyoungmi _ Curator of Arko Art Center

Drawing works by Kim Eull makes the viewer to "unarm" before releasing their harsh words from the aesthetic, sociological, and historical perspectives. Even the most infamous art critics who do not hesitate to dissect all art works with their flowery words founded on little knowledge they have cannot help but get their tongue tied and look up in deference. One might ask how a general audience without much insight on art as a whole would respond. Often times the audience feels intellectually trapped when standing in front of an incomprehensible piece of modern art after making much effort to set their foot in the world of art, which has become a place of its own. Shower of language from another world beyond our understanding can be rather suffocating.

Nevertheless, drawings by Kim kindly provide the audience with a breathing room and comfort of the home while seeking sympathetic sense of solidarity. It must be what they call a true communication of "feeling." Popular misperception in the modern art world that considers the expression of "feeling" as the ultimate truth outdated is broken by Kim's works. Kim reaches further to embrace the confused souls of art students. He is a mentor and a role model for those wandering lost in the flood of visual media and cultural elements. He is the companion, predecessor, and teacher who fuels life into the art circle in Korea of this time.

Korea society is tightly woven out of repressive organizations and soundly defined systems, and within it there lies the art world of even more confined norms. As it is the case with everything, walking in the crowd and following the given direction to become a part of the system is a safer and more comfortable way. Yet, the "true" artist could not possibly become an invisible dot in the social norm of his/her time without giving the inner-self an opportunity to raise its voice. We are asked to closely observe and analyze the structure and system of different languages and apply it in complacent with the organizational trend of society, and it is true that the phrases like "feeling" and "true artist" may come across with an awkward connotation. However, Kim's works full of humane warmth do not go well with dry and superficial language in style today.

As somebody once said, if existentialism became the basis of social modernization in place of romanticism, the outcomes might have been somewhat less confusing and erroneous to allow us a certain degree of flexibility at times of different changes. In other words, we might have become more courageous to be able to face the reality. Proposition of "existence" is an issue that cannot be looked away from so long as a person is destined to live.

149

Then why is it that we so hesitate to address it in earnestness and sincerity? Is

mere existence is an evidence to that our expectation may not just be founded

it because the process of reality check is so painful or is it because we are

on a fantasy.

afraid of the truth to be told by the reality?

His landscape works (Portrait series, Blood Flow Painting series, and Mountain Kim Eull has asked the audience the most basic questions through a number of

works), which could have become the reference to his "hard-defined" style, went

his Mountain works as well as the Portrait series and Blood Flow Painting

down by what Kim himself calls a "fortunate"fire in 1998. One can only imagine

series since the mid-1990s. As if to be weighed down by the theme "Who Am I,

the emotional emptiness he must have become exposed to out of this loss. But

and Where Am I, "bronze relief, rough and masculine matiere surface, and a

Kim, Schwartzenegger of our art world, got back on his feet empty handed. Is it

canvas full of forms and figures visualize the artist's agonizing thoughts in

what they call rehabilitation? There is definitely something different in his works

layers. Kim also successfully extends his works to include more microscopic

from before. Now pure innocence may be a phrase to describe them owing to

parts of our life, for instance, family, society, history, and the world, by getting

the cleansing effect of the fire. One thing for sure, I dare say he seems to be

in touch with the ultimate source of them all. Just like ripples created by a

facing this world more lightheartedly and refreshingly. 265 Okhari recreated his

pebble tossed into the river, the agony over the "existence" presented to us

hometown and brought his ancestors to live in Project Space Sarubia Dabang in

goes beyond all boundaries of time and space to seep into the our life.

2002. Kim intensely poured out his personal experience, tradition, and history to

Somewhat crude and plain scenery of Kim's hometown are familiar and inviting

today. It was a side mark made to his prior works to confirm conceptual and

by nature. It is because his hometown is not foreign to any of us, rather it is a

visual basis for Kim's art world; he also set aside 265 Okhari in his mind as he

piece of memory from our childhood rich in the savoring smell of home-cooked

continued his walk. It might have taken a load off his shoulder. There is the

meal and motherly love. Looking at Kim's works, you will find yourself giving a

sound of whistles, different sceneries previously hidden away, and chattering

gentle nod and subtle smile at the "ambiance" created by the rightful match of

and laughter of little kids. It could have been getting out of a hot bath. All senses

materials, topics, and themes.

emerge to the surface to absorb everything around you, and through his hands everything is made into art. Everything is so lively and valuable that nothing can

Success within the pop culture industry and commodity consumption structure

be thrown away or overlooked.

is oftentimes expressed by phrases like "it has a style," and "the brand has made an impression." There is nothing wrong with joining the top-down trend

Drawing Project: the project to be carried out for three years between 2002 and

thinking, "that's not that bad" in that it is a part of society we live in. In fact, it

2004 first budded out of a complex psychological state resulted from the mixed

might bring along admiration, wealth, and even fame. That is why it is called a

feelings of fear, regret, desire for change, and antisation of the prior being

success. However, there has to be a person who looks through the sickening

evolving around the powerful thematic nature of Blood Flow Painting series. In

evil in such a social phenomenon. One has to recognize that the lies an autistic

an attempt to capture and recreate moments beyond the boundaries of

and self-induced error in it. As sweet as it may seem at first, it is fatally

consciousness and unconsciousness without a set intention, drawing emerged

poisonous to lead people through the path of self-destruction. Nevertheless, its

as an optimal means. Kim's usual endeavor to expand the scope of

call is too strong to ignore for most people. Powerful contagion effect seeps

consciousness against the habitual thinking process makes drawing that does

into other parts of society to distort and corrode their essence. Star system: it is

not get bound by a specified theme a perfectly appropriate outcome.

not a TV star that I am referring to who wants to create his own style and gain

150

both the fame and wealth and drive down the road in his expensive sports car

I was able to create a world of mine with new coordinates through the

in fire red. It is a story of a young man who has set his feet in the so-called

drawing works. It was like making an elaborate map of the entangled

"fine art" discipline. By no means am I saying that artists should discuss big

relationship between my life and art, and I found out that only thing

philosophies, engage in serious discourses, and initiate revolutions. Shouldn't

meaningless in the world of mine seemed to be limit its scope under a unified

an artist have a sense of self against the forced repression that makes one

theme. I think it is much more meaningful and fun to pay attention to the

imprison him or herself? At least an "honest" artist should. In this regard, Kim's

relationship between different elements of the whole."

Drawing work was a trial of great significance to Kim, and he set up a few

these pieces is like a hieroglyphic character in need of decoding. Interestingly,

principles for that end. It turned out to be the Drawing Project: he set up a given

a piece carries more than one meaning, and it in itself continues to evolve and

period of time (3 years) to concentrate only on drawing, and the minimum

change based on persons and situations. It is just like the essence in life is an

workload (1,000 pieces per year). Similarly, he stripped the theme definition of

object of interpretation and answer to interpretation and furthermore a symbol

all its significance. He truthfully drew out incidents around him, inner feelings,

and meaning of the symbol all at the same time. In that sense, there definitely

and different thoughts about art as they came about. Warm choices and acts

is a sound ground to how he calls his drawings "miscellaneous." It is not simply

from everyday life were recreated on paper. "You," "Me," and "We," nature and

because he talks about many different things, but because different pieces of

space, man-made symbols, and humans breathe alive in his works.

unique colors come together through a subtle yet definitive link that resembles the one in a chain of you me we society world universe.

Kim chose methods of communication and expression based on clarity and simplicity, and he put much emphasis on perspective insights and reflections

Kim has erected a structure titled "Vortex" that in fact takes the form of a ripple

towards an overall context. Interestingly enough, a number of figurative

of circle. It is a part of his effort to visually materialize his open-ended approach

techniques came into being; for instance, the repeated use of eraser-made

to art over the past few years. It in itself is a miscellaneous drawing about the

stamps, countless duplication of an objective reduced to a figurative symbol,

artist himself and the universe as much as it is a formative whirlpool to

introduction of actual objet as well as magazine and photo images, and

symbolize a birth of a yet another world. Frequencies of Kim's emotions and

replacement of images with writings are only a few of the unconventional

attitudes towards life, diversity and depth of an object made subject to an

techniques he adopted. Visually buoyant and free drawings are as inclusive and

artistic expression, and a spiral within the space of expression come together

open-ended in their contents as they are in forms. Furthermore, Kim managed

with physical and emotional movements experienced by the audience offer us

to avoid the pitfall in all-inclusiveness; how is it that he treats everything there

a glimpse into life in its truest form. And this benefit is delivered to the outside

is to be in this world equality with showers of love and affection?

world through Drawing Book that binds his works into a small booklet. As Kim himself said, "There is nothing more natural than many things put together

Title of each drawing piece shows how sincere he is when addressing different

without a set order. As much as a uniform system can be truthful, I believe that

objects. And this sincerity becomes the source of humor. Humor can truly touch

the lack of order reflects the truth in its most uncorrupted form. Isn't it true that

persons made subject to it when presented by a person who knows what this

both life and nature exist upon jumbles of myopic things?" It is.

world and life really is about. Humor is not a tasteless noise nor is it a mindless hobby, but rather it is a person's most honest and truthful state of mind. It is in

Constant inquiry about "existence" and "origin" that Kim makes as a person,

fact quite similar to the essence in life. Therefore, one should refrain from

and an artist, must be the source of his thirst for truth all the while keeping him

treating humor as a weightless element in light that goes against the depth of

company in everyday life. Like one's own tail that can never be caught, the

sincerity. Smiles voluntarily surface in our face are drawn by Kim's affection to

chase and endeavor to reach the truth can never be completed. That might be

life and depth of his insights. Some of the titles include: "Garage Is a Person/

why Kim has decided to take the matter to his own hands on the back of his

Kick and Loss" "Whatever It May Be," "Subtle Boundaries," "Honest Person,"

bottomless passion, earnestness, and honesty for there is no way to get around

"History and a Pine Tree," "Goddess Statue in Imperfection," "What is Rice

"life" and "essence" with tricks. Kim's sincerity is enough to capture and extract

Cake?... End of Rice Cake," "Who Lives Over the Horizon?," "I Draw, Therefore I

the delicate moments of the "essence," and no peripheral theories and critiques

am. (Then Why Is Being Still So Important To Me?)," and "Rock If Standing,

are enough to fully get to his works. Today when most are busy visually support

Wind If Moving...".

the theories of art, existence of Kim and his works that induces critiques to make a real effort to understand the phenomenon in artistic practice put me

We have to constantly make different choices in life. As much as we may want

more at ease. For there remains an insightful eye that looks through beyond the

to turn our head away and deny them in entirety, they are unavoidable parts of

limitations of this time, the art will continue to prosper.

our life. Kim lays countless pieces of life scattered like debris before us. Each of

151

Vortex

152

153

154

1 2 3

155

156

1 2

157

Drawing machine

158

159

161

Object

162

1 2 3 4

1 2 3 4 5 6 7 8 9

163

Construction diary

164

165

166

167

168

Biography

170

Kim Eull

1989

M.F.A, Jewelry Design, Graduate school of Industrial Arts,

2002

Hong-ik University, Korea 1981

B.F.A, Metal Craft, Won-Kwang University, Korea

"Self-portrait of Korean Art", Sejong Center Museum, Seoul "Thousand eye, Thousand road", Kwanhoon Gallery, Seoul

2001

"2001 Odyssey", Sungsan Arthall, Changwon "NO cut", Gallery Savina, Seoul

Solo Exhibitions

"Painting and Figure", Kwanhoon Gallery

2007

"Miscellaneous Painting2", Gallery Noon, Seoul

2006

"Drawing is Hammering", Take Out Drawing, Seoul

Collections

2006

"Miscellaneous Painting", Gallery Ssamzie, Seoul

National Museum of Contemporary Art, Kwachun, Korea

2005

"Kim Eull Painting & Drawings", Baik Hae Young Gallery, Seoul

Art Bank, Ministry of Culture & Tourism, Republic of Korea

2004

"kim Eull Drawing 2004", Gallery Fish, Seoul

Gyeonggido Museum of Art, Ansan, Korea

2003

"Kim Eull Drawing 2003", Gallery Fish, Seoul

Arko Art Center, Seoul, Korea

"Kim Eull Drawing 2002", Gallery Doll, Seoul

Ssamzie Collection, Seoul, Korea

2002

"#265 Ok ha-ri", Project Space SARUBIA, Seoul

Kumho Museum of Art, Seoul, Korea

2001

"This and That Mountains", Gallery Savina, Seoul

Hana Bank, Seoul, Korea

1996

"Self-Portrait", Kum ho Gallery,Seoul

Arena 1, LA, USA

1994

"Kim Eull Exhibition", Kum ho Gallery, Seoul Drawingbook Publications

Selected Group Exhibitions

Kim Eull Drawings 2004-2004, 2004

2007

"Study of the On Paintings", Ssamzie Space, Seoul

Kim Eull Drawings

2007

"SO.S", The Bus, Seoul

Drawing; Stairs, 2006

"Gyeonggi, National Highway NO,1",

Miscellaneous drawings, 2006

2007

50, 2005

Gyeonggido Museum of Art, Ansan 2007

"Think Green", Gallery Ssamzie, Seoul

Address : 1192-1 Du-chang ri, Won-sam myun, Yong-in city, Kyung-gi do, Korea

2007

"The Time of Surplus", The Gallery, Seoul

E-mail : kimeull@hanmail.net

2006

"Wake up Andy Warhol", Ssamzie Gallery, Seoul

2006

"Persistent Drawing", Gyeonggi Cultural Foundation, Suwon

2006

"Thump", Gallery Noon, Seoul

2006

"1 Hundred Years of Korean Art", National Museum of Contemporaly Art, Kwachun

2006

"Seek in Myeongryun dong", Myeongryun dong, Seoul

2006

"Drawing Energy", Arko Art Center, Seoul

2006

"Drawn to Drawing", SOMA Museum, Seoul

2005

"The play between ", Andrewshire gallery, Arena 1, LA, USA "Domestic Drama", Project Space Zip, Seoul.

"Discovery of Seoul", Gallery Gwang, Seoul "Korea-Japan Modern Drawing", Choheung Gallery, Seoul "Flow of Art in Gyeonggi", Exhibition Hall in Gyeonggi Cultural Foundation, Suwon "Movement on Silence", Gallery DOS, Seoul "Reading Diary", Gallery Wooduk, Seoul

2004

"Rolling space", Marronnier Art center, Seoul "Japan Korea Contemporary Art 2004", O Museum, Tokyo, Japan "Close into....Drawing", Gallery Skape, Seoul "RE-MESIS", Space Beam, Incheon

2003

"REAL-SCAPE Revisited", National Museum of contemporary Art, Korea "Trace-scape", Ga Gallery, Seoul "Discovery of Life in Seoul", SsamZie Space, Seoul

171

Caption

014

060

015

061

016

062

017

063

018

064

019

065

020

066

021

067

022

068

023

1.

069

2.

070

024

071

025

072

026

073

027

074

028

075

029

076

030

077

031

078

032

079

033

080

034

081

035

082

036

083

037

084

038

085

040

086

041

087

042 043

088

044

089

045

090

046

091

047

092

048 049

1.

2.

093 1.

094

2.

095

050

096

051

097

052

098

053

099

054

100

056

101

057

102

058

103

059

104

1.

173

2.

114

3.

4.

105

115

1.

2.

3.

4.

107

110

2.

3.

1.

4.

117

2.

1.

3.

2.

4.

118

2.

2.

3.

3.

4.

1.

5.

2.

6.

119

2.

1.

3.

2.

4.

3.

5.

4.

6.

5.

7.

8.

1.

120

2.

121

4.

1.

2.

122

1.

5.

2.

6.

3.

7.

4.

8.

5.

9.

123

1.

1.

2.

2.

3.

3.

4.

4.

174

1.

4.

3.

113

1.

1.

6.

112

1.

3.

3.

111

1.

1.

3.

109

4.

116

2.

2.

108

1.

2.

3.

106

1.

2.

5.

5.

124

6.

125

1.

7.

2.

8.

3.

9.

4.

5.

2.

6.

3.

7.

4.

8.

140

9.

141

126 127

142 1.

2.

143

3.

1.

2.

4.

5.

144

6.

128

129

3.

2.

152

3.

154

1.

155

2.

156

3.

157

4.

158 159

131 132

2.

1.

130

1.

160 1.

2.

161

3.

4.

133

162

1.

2.

2.

3.

3.

4.

4.

163

134 135

1.

1.

2.

1.

3.

2.

4.

3.

5.

4.

6.

136

7.

8.

137

1.

9.

164

2.

165 166

3.

167 168

4.

138 139

1.

175

014

Untitled_stamp on paper_25.5 20.5cm_2005

062

Double Kim_copy on paper, water color, collage_34.5 26.5cm_2006

015

Square and my drawing_water color on paper, collage_26 18cm_2005

063

Self-drawing_black-ink on paper, pencil, seal_19.5 15cm_2006

016

Untitled_black-ink on paper, stamp_25.5 25.5cm_2003

064

Untitled_water color on paper, stamp, collage_21 29.5cm_2007

017

Untitled_ink on paper, stamp_26 18cm_2004

065

Untitled_acrylic on paper, stamp, collage_21 29.5cm_2007

018

Untitled_water color on paper, collage_21 16.5cm_2003

066

Landscape with sky and brush and blood only_water color on paper, acrylic_

019

Untitled_water color on paper, ball point pen_24 16.5cm_2003

020

Landscape with me and sky and weed only_water color on paper, collage_

067

Painter in the swamp_water color on paper, ball point pen_21 29.5cm_2007

29.5 21cm_2005

068

Untitled_magic pen on paper_21 29.5cm_2007

021

Untitled_water color on paper, pencil, black-ink_27 19.5cm_2005

069

Untitled_ball point pen on paper_21 29.5cm_2007

022

Canvas pyramid_water color on paper_22.5 26cm_2004

070

Untitled_water color on paper, ball point pen_21 29.5cm_2007

023

1. Collector_water color on paper, ball point pen_18 26cm_2004

071

Untitled_black-ink on paper, ball point pen_21 29.5cm_2007

2. Untitled_water color on paper_15 23cm_2003

072

Six yews_water color on paper_21 29.5cm_2007

024

Hard drawing figure_water color on paper, ink_17 22cm_2003

073

Untitled_water color on paper, pencil_21 29.5cm_2007

025

History of Love_ball point pen on paper_17 22cm_2004

074

Untitled_water color on paper, ball point pen_21 29.5cm_2007

026

The earth-Jin yang Brand_color pencil on paper_15 21cm_2004

075

Untitled_acrylic on paper, ball point pen_21 29.5cm_2007

027

Untitled_water color on paper, pencil_17 22cm_2004

076

Untitled_pencil on paper, ball point pen, collage_21 29.5cm_2007

028

Art in turning point_water color on paper_27 19.5cm_2005

077

Untitled_water color on paper_21 29.5cm_2007

029

Rain drop like pop art_water color on paper_23 19.5cm_2005

078

Untitled_acrylic on paper_21 29.5cm_2007

030

Untitled_water color on paper, collage_21 21cm_2003

079

Untitled_water color on paper_21 29.5cm_2007

031

The space with pillar_water color on paper_23 15cm_2003

080

Untitled_water color on paper, ball point pen_21 29.5cm_2007

032

A copy of mountain map_water color on paper, black-ink, collage_

081

Untitled_water color on paper, ball point pen_21 29.5cm_2007

27 36cm_2003

082

Untitled_water color on paper, ball point pen, collage_21 29.5cm_2007

033

No more of blood painting_water color on paper, ink_26 26cm_2003

083

Untitled_water color on paper, pencil, collage_21 29.5cm_2007

034

Portrait with humanity and natural laws_black-ink on paper_

084

Untitled_water color on paper_21 29.5cm_2007

20.5 30cm_2004

085

Untitled_acrylic on paper_21 29.5cm_2007

035

Untitled_water color on paper, ball point pen_21.5 30cm_2005

086

LA MONTAGNE SAINTE-VICTOIRE ET LE CHATEAU NOIR_

036

My face projected on blue-and-white porcelain bowl_ water color on paper, ball point pen_15 22cm_2004

ink on paper, water color_39 50cm_2005 087

1. LAC D’annecy_ink on paper, water color_39 52.5cm_2005

037

Mountain and River of studio_water color on photograph_14.5 19.5cm_2003

038

MOMA_water color on paper_20 38cm_2005

088

History and pine tree_water color on paper, object_29.5 21cm_2003

040

Untitled_water color on photograph_20 15cm_2003

089

Untitled_stamp on papers, vinyl string, collage_25 18 2.5cm_2002

041

Untitled_sticker on paper_18 13cm_2004

090

Secret canon of painting_black-ink on book, water color_29 19.5cm_2003

042

Untitled_water color on paper, pencil_18.5 15cm_2006

091

Chu-sa’s calligraphy and my red orchid_water color on book_

043

My-self_water color on paper, pencil_19.5 15cm_2006

044

Untitled_stamp on paper_30 21cm_2003

045

Revolving canvas_water color on paper, ball point pen_26 18cm_2003

046

Untitled_water color on paper, black-ink, ball point pen_28.5 37.5cm_2005

047

2. GRANDES BAIGNEUSES_ink on paper, water color_39 52.5cm_2005

22 14 092

048

Self-portrait facing each other_water color on paper_20.5 29.5cm_2002

049

1. Self-portrait facing each other_water color on paper_20.5 29.5cm_2002

cm_2003

Very good drawing series_water color on paper, ball point pen_ 30.5 21.5cm_2005

093

_water color on paper, collage_36 29cm_2003

2. Self-portrait facing each other_water color on paper_20.5 29.5cm_2002

176

21 29.5cm_2007

Very good drawing series_water color on paper, ball point pen_ 30.5 21.5cm_2005

094

Very good drawing series_water color on paper, ball point pen_ 30.5 21.5cm_2005

095

Very good drawing series_water color on paper, ball point pen_

050

Untitled_water color on paper, ball point pen_15.5 16.5cm_2003

051

Thinking about 19 Rhodeus Uyekii_water color on paper, stamp_

096

30.5 21.5cm_2005 Very good drawing series_water color on paper_30.5 21.5cm_2005

15.5 18cm_2003

097

Very good drawing series_water color on paper_30.5 21.5cm_2005

052

Bundles to the Daejeon_black-ink on paper_15 20cm_2002

098

Very good drawing series_water color on paper_30.5 21.5cm_2005

053

Sorok Island_water color on paper, pencil_18 26cm_2006

099

Very good drawing series_water color on paper_30.5 21.5cm_2005

054

Iron-bird constellation_water color on map, black-ink_24 33cm_2003

100

Very good drawing series_water color on paper, ball point pen_

056

Reservoir_water color on paper, black-ink_29.5 21cm_2003

057

Emerald_water color on paper, ball point pen_21 19cm_2004

101

Very good drawing series_water color on paper, pencil_30.5 21.5cm_2005

058

Dish design for mental training_water color on paper, ink_20 20cm_2003

102

Very good drawing series_water color on paper, ball point pen_

059

Dish design for mental training_water color on paper, ink_20 20cm_2003

060

Untitled_ball point pen on paper, color pencil_17 12cm_2004

061

Oh, 50!!_water color on paper, ball point pen_18 25.5cm_2004

30.5 21.5cm_2005

30.5 21.5cm_2005 103

Very good drawing series_water color on paper, ball point pen_ 30.5 21.5cm_2005

104

1. Very good drawing series_water color on paper, ball point pen_

114

30.5 21.5cm_2005 2. Very good drawing series_water color on paper, ball point pen_

115

30.5 21.5cm_2005

3. Kind of Tears_mixed media on paper_17 13cm_2006

30.5 21.5cm_2005

4. Kind of Tears_mixed media on paper_17 13cm_2006 116

30.5 21.5cm_2005 105

1. Very good drawing series_water color on paper_30.5 21.5cm_2005

3. Kind of Tears_mixed media on paper_17 13cm_2006 4. Kind of Tears_mixed media on paper_17 13cm_2006 117

4. Very good drawing series_water color on paper, ball point pen_

107

108

3. Kind of Tears_mixed media on paper_17 13cm_2006

1. Paper is white, body is yellow_black-ink on paper_10 26cm_2004 2. Brush on left, hammer on right_black-ink on paper_10 26cm_2004

4. Kind of Tears_mixed media on paper_17 13cm_2006 118

2. My tools_black-ink on paper_15 21cm_2004

2. Come across the wind with naked body_black-ink on paper_10 26cm_2004

3. My tools_black-ink on paper_15 21cm_2004

3. Life is a drawing_black-ink on paper_10 26cm_2004

4. My tools_black-ink on paper_15 21cm_2004

1. All paintings have a same purpose_black-ink on paper_10 26cm_2004

5. My tools_black-ink on paper_15 21cm_2004

3. Increase works, become narrower studio_black-ink on paper_

110

6. My tools_black-ink on paper_15 21cm_2004 119

2. My tools_black-ink on paper_15 21cm_2004

1. Cow, hen, dog and painting_black-ink on paper_10 26cm_2004

3. My tools_black-ink on paper_15 21cm_2004

2. Painting is silent_black-ink on paper_10 26cm_2004

4. My tools_black-ink on paper_15 21cm_2004

3. Trivial painting_black-ink on paper_10 26cm_2004

5. My tools_black-ink on paper_15 21cm_2004

1. Presentations_ink on paper_6 9cm_2004

6. My tools_black-ink on paper_15 21cm_2004

2. Presentations_ink on paper_6 9cm_2004

7. My tools_black-ink on paper_15 21cm_2004 8. My tools_black-ink on paper_15 21cm_2004

4. Presentations_ink on paper_6 9cm_2004

120

1. Presentations_ink on paper_6 9cm_2004

121

2. Presentations_ink on paper_6 9cm_2004 3. Presentations_ink on paper_6 9cm_2004

112

Concentric circle_water color on paper, ink_15 20cm_2004 1. Concentric circle_water color on paper, ink_15 20cm_2004 2. Concentric circle_water color on paper, ink_15 20cm_2004

122

1. Concentric circle_water color on paper, ink_15 20cm_2004

4. Presentations_ink on paper_6 9cm_2004

2. Concentric circle_water color on paper, ink_15 20cm_2004

5. Presentations_ink on paper_6 9cm_2004

3. Concentric circle_water color on paper, ink_15 20cm_2004

6. Presentations_ink on paper_6 9cm_2004

4. Concentric circle_water color on paper, ink_15 20cm_2004

1. M A D 2002_black-ink on paper_10 7cm_2002 2. M A D 2002_black-ink on paper_10 7cm_2002

5. Concentric circle_water color on paper, ink_15 20cm_2004 123

1. Concentric circle_water color on paper, ink_15 20cm_2004

3. M A D 2002_black-ink on paper_10 7cm_2002

2. Concentric circle_water color on paper, ink_15 20cm_2004

4. M A D 2002_black-ink on paper_10 7cm_2002

3. Concentric circle_water color on paper, ink_15 20cm_2004

5. M A D 2002_black-ink on paper_10 7cm_2002

4. Concentric circle_water color on paper, ink_15 20cm_2004

6. M A D 2002_black-ink on paper_10 7cm_2002

113

1. My tools_black-ink on paper_15 21cm_2004

10 26cm_2004

3. Presentations_ink on paper_6 9cm_2004 111

1. My tools_black-ink on paper_15 21cm_2004

1. Mountain’s high, sun sets_black-ink on paper_10 26cm_2004

2. Hold a brush with laugh_black-ink on paper_10 26cm_2004

109

1. Kind of Tears_mixed media on paper_17 13cm_2006 2. Kind of Tears_mixed media on paper_17 13cm_2006

30.5 21.5cm_2005 106

1. Kind of Tears_mixed media on paper_17 13cm_2006 2. Kind of Tears_mixed media on paper_17 13cm_2006

2. Very good drawing series_water color on paper_30.5 21.5cm_2005 3. Very good drawing series_water color on paper_30.5 21.5cm_2005

1. Kind of Tears_mixed media on paper_17 13cm_2006 2. Kind of Tears_mixed media on paper_17 13cm_2006

3. Very good drawing series_water color on paper, ball point pen_ 4. Very good drawing series_water color on paper, ball point pen_

1. Kind of Tears_mixed media on paper_17 13cm_2006 2. Kind of Tears_mixed media on paper_17 13cm_2006

5. Concentric circle_water color on paper, ink_15 20cm_2004

7. M A D 2002_black-ink on paper_10 7cm_2002

124

8. M A D 2002_black-ink on paper_10 7cm_2002

125

Bird_water color on paper_20 17cm_2004 1. Bird_water color on paper_20 17cm_2004

9. M A D 2002_black-ink on paper_10 7cm_2002

2. Bird_water color on paper_20 17cm_2004

1. M A D 2002_black-ink on paper_10 7cm_2002

3. Bird_water color on paper_20 17cm_2004

2. M A D 2002_black-ink on paper_10 7cm_2002

4. Bird_water color on paper_20 17cm_2004

3. M A D 2002_black-ink on paper_10 7cm_2002

5. Bird_water color on paper_20 17cm_2004

4. M A D 2002_black-ink on paper_10 7cm_2002

6. Bird_water color on paper_20 17cm_2004

5. M A D 2002_black-ink on paper_10 7cm_2002

7. Bird_water color on paper_20 17cm_2004

6. M A D 2002_black-ink on paper_10 7cm_2002

8. Bird_water color on paper_20 17cm_2004

7. M A D 2002_black-ink on paper_10 7cm_2002

9. Bird_water color on paper_20 17cm_2004

8. M A D 2002_black-ink on paper_10 7cm_2002

126

Bamdee village_black-ink on paper_15 21cm_2004

9. M A D 2002_black-ink on paper_10 7cm_2002

127

1. Bamdee village_black-ink on paper_15 21cm_2004

177

128

2. Bamdee village_black-ink on paper_15 21cm_2004

155

Vortex_detail

3. Bamdee village_black-ink on paper_15 21cm_2004

156

Vortex_detail

4. Bamdee village_black-ink on paper_15 21cm_2004

157

Vortex_detail

5. Bamdee village_black-ink on paper_15 21cm_2004

158

Drawing machine_machinery structure_160 60 60cm_2006

6. Bamdee village_black-ink on paper_15 21cm_2004

159

Drawing machine_detail

1. CCTV_mixed media on paper_19 14cm_2004

160

Draw the man standing squarely in the middle of a picture plane_

2. CCTV_mixed media on paper_19 14cm_2004 3. CCTV_mixed media on paper_19 14cm_2004 129

steel, wood, enamel paint_600 400 4cm_2006 161

1. CCTV_mixed media on paper_19 14cm_2004 2. CCTV_mixed media on paper_19 14cm_2004

ball point pen on paper_18.5 14cm_2006 162

1. Untitled_toy, brush, copper plate_13 13 7cm_2006

3. CCTV_mixed media on paper_19 14cm_2004

2. Untitled_toy, tube-color, canvas_30 12 7cm_2006

4. CCTV_mixed media on paper_19 14cm_2004

3. Untitled_toy, sculpey, acrylic, each_7 6 4cm_2002

130

Inner cover_sign pen on paper_26 18.5cm_2004

131

Inner cover_sign pen on paper_22.5 15cm_2004

132

1. Inner cover_sign pen on paper_17 12cm_2004

2. Untitled_toy, doll, brush, canvas_13 15 6cm_2006

2. Inner cover_sign pen on paper_17.5 10.5cm_2004

3. Untitled_doll, ball, pencil_7 15 7cm_2005

3. Inner cover_sign pen on paper_18 12.5cm_2004

4. Untitled_toy, wood_5 18 14cm_2006

4. Inner cover_sign pen on paper_17 10.5cm_2004

5. Untitled_doll, stone_7 17 6cm_2005

1. Inner cover_sign pen on paper_16 10cm_2004

6. Untitled_doll, sculpey, brush_6 10 6cm_2006

2. Inner cover_sign pen on paper_22.5 15cm_2004

7. Untitled_doll, wood_6 14 6cm_2007

3. Inner cover_sign pen on paper_19 13cm_2004

8. Untitled_doll, toy, drawing book_35 20 11cm_2006

133

4. Untitled_doll, brush_11 25 6cm_2006 163

4. Inner cover_sign pen on paper_18 13cm_2004

1. Untitled_doll, brush, sculpey_31 8 8cm_2006

9. Untitled_doll, brush_6 28 10cm_2004

134

Inner cover_water color on paper, sign pen_22 15cm_2004

135

1. Inner cover_water color on paper, sign pen_21 15cm_2004

2. Construction diary_note_12.5 17.5cm_2004

2. Inner cover_water color on paper, sign pen_15 10.5cm_2004

3. Construction diary_note_12.5 17.5cm_2004

164

3. Inner cover_water color on paper, sign pen_18 13cm_2004 4. Inner cover_water color on paper, sign pen_18 18cm_2004

1. Construction diary_note_12.5 17.5cm_2004

4. Construction diary_note_12.5 17.5cm_2004 165

1. Construction diary_note_12.5 17.5cm_2004

136

My Black Drawing Book (Vol.1)_drawing book on paper, wire_

2. Construction diary_note_12.5 17.5cm_2004

26 26

3. Construction diary_note_12.5 17.5cm_2004

137

1. My Black Drawing Book (Vol.2)_drawing book on paper, wire_ 26 26

cm_2005

4. Construction diary_note_12.5 17.5cm_2004

cm_2005

5. Construction diary_note_12.5 17.5cm_2004

2. My Black Drawing Book (Vol.3)_drawing book on paper, wire_ 26 26

cm_2005

6. Construction diary_note_12.5 17.5cm_2004 166

3. My Black Drawing Book (Vol.6)_drawing book on paper, wire_ 26 26 26 26

cm_2005

3. Construction diary_note_12.5 17.5cm_2004 4. Construction diary_note_12.5 17.5cm_2004

cm_2005

138

Untitled_water color on newspaper_33 28cm_2004

139

1. Untitled_water color on newspaper_34 28cm_2004

1. Construction diary_note_12.5 17.5cm_2004 2. Construction diary_note_12.5 17.5cm_2004

4. My Black Drawing Book (Vol.10)_drawing book on paper, wire_

5. Construction diary_note_12.5 17.5cm_2004 6. Construction diary_note_12.5 17.5cm_2004 167

1. Construction diary_note_12.5 17.5cm_2004

2. Untitled_water color on newspaper_36.5 27cm_2004

2. Construction diary_note_12.5 17.5cm_2004

3 Untitled_water color on newspaper_36.5 28cm_2004

3. Construction diary_note_12.5 17.5cm_2004

4. Untitled_water color on newspaper_36 28cm_2004

4. Construction diary_note_12.5 17.5cm_2004

140

JULIET_ink on paper_12 17.5cm_2003

5. Construction diary_note_12.5 17.5cm_2004

141

Yale junior in INDIA_water color on paper, pencil_17.5 12cm_2003

142

Two sun and three moon rise in INDIA_water color on paper_19 19cm_2003

143

1. Night of Genges_ink on paper_14 23cm_2003

2. Construction diary_note_12.5 17.5cm_2004

144

6. Construction diary_note_12.5 17.5cm_2004 168

1. Construction diary_note_12.5 17.5cm_2004

2. A cup of chai taken at hotel Alka near Genges riverside_

3. Construction diary_note_12.5 17.5cm_2004

water color on paper_14.5 23cm_2003

4. Construction diary_note_12.5 17.5cm_2004

1. The planes of existance_water color on paper_15 15cm_2003

5. Construction diary_note_12.5 17.5cm_2004

2. Cosmic egg_water color on paper_12 15cm_2003

6. Construction diary_note_12.5 17.5cm_2004

3. Primal form_water color on paper_11.5 13.5cm_2003

178

Draw the man standing squarely in the middle of a picture plane_

152

Vortex_mixed media on paper_150 4239cm_2006

154

Vortex_detail

Kim Eull Drawing Published by Eull Kim Essays by Kyunghee Yoo, Hyoungmi Kim Translations by Art n Text Edited by KC Communications Sponsored by Gyeonggi Cultural Foundation No part of this catalogue may be reproduced in any form by electronic or mechanical means (including photocopying, recording, or information storage and retrieval) without permission on writing from the copyright holder.