스킵네비게이션

Kim Eunju whose persistent and coherent material has been the pencil lays bare on canvas the energies and lives that always transcend far beyond the images revealed in her picture planes themselves. Despite that the contrast between black and white can generate certain monotonousness, the multicoloredness of her work is guaranteed as light is dispersed and reflected by the black color of the lead of a pencil. That is, her images intactly bare her honest labor of repeatedly moving around the pencil in order to produce the texture generated by the friction between paper and black lead. Her works’ iconographic depth and compositional solidity achieved with a pencil whose capability to engender certain thickness of pictorial surface is very low is more than enough to change the general view of a pencil, which is considered to be one of light materials for drawing. Her series work of the forms of vegetation shown at this biennale started in the mid 2000s. As suggested in her statement that the change in subject matter from human figures through waves to vegetation tells nothing but that of images, the transformation of subject matter is not that much significant considering the change in the continuum of the process of drawing lines one after another and of her persistent action. In other words, what she presents cannot be defined by forms and points to those movements that wriggle and infinitely multiply. No, it should be said that the temperance and control of energy, the clear division between blank space and images, and their relationship with empty space attest to the fact that the life of the artist do not stop oscillating between this and that. In a word, it is fair to say that she is not satisfied with representing an object as an object and is on the way to seek after one by one the strands of life energy that wiggle in the deeps of life. In front of her works, therefore, the viewers ought to draw up their reason for being, the process of their action, and hence the life of their own.