JINKYU KIM 김진규

2020  M.F.A., Oriental Painting, Hongik University, Seoul
2008  B.F.A., Art education (Oriental Painting), Hannam University, Daejeon
 

Solo Exhibitions
2022 Burdensome sky StudioMo’Lab, Seoul 
2021 A Gradual Stratum, Cheongna Blue Novahall, Incheon
2021 Somewhere or Nowhere, Artertain, Seoul 
2014 Feeling the Wind, Taitung Railway Artist Village, Taiwan

Group Exhibitions
2022 Tell Me Your Wish, Mi_hak_gwan, Seoul 
2022 Seoro Drawing, Artspace Seoro, Seoul 
2021 Uneasy Today, Artspace Isaek, Seoul 
2021 All drawing of the world, Artertain, Seoul 
2021 Waves Rise, Gallery Vinci, seoui
2020 Our village artists, Art Studio Inside 88, Incheon
2020 JangJa, Be a Ganggangsullae. Kim Bo Seong Art Center, Seoul 
2019 Hidden side, Seoul art sapce Geumcheon, Seoul 
 
Residency
2014 Taitung Railway Artist Village, Taitung, Taiwan
 
Project
2020 Open Ur(your) Smile, GyeongGi Culture Foundaation
2020 Our village artists, Incheon Seogu Culture Foundaation 
 
Collections
2020 Incheon Art Bank (Incheon Foundation For Arts & Culture)
2014 Taitung Art Museum, Taiwan

Art Fair
2022 BAMA Hotel Art Fair, Grand Josun, Busan
2022 Drawing Growing, Mi_hak_gwan, Seoul 
2021 JAD festa,  Camphortee Hotel&Resort, Jeju

 

The overlapping and daily life of the artist's point of view(2021)

Intangible means that there is no form. Also, inaction is doing nothing. Of course, it can be said that there is no form because there was a form, and there may be a meaning of not doing it because there are things to be done. Intangibility is not simply the absence of a form, but cases where the concept of form is significantly affected by the moment, time, and space that act completely differently. That is, it would be the case where there is no hard boundary. The absence of a hard boundary means that the boundary is sufficiently changeable or redefinable due to the directions in which it is viewed at any time. Abulia is a story about ways to live in the present. Deciding what not to do rather than what to do. Deciding what to do most definitely. Judging various situations regarding the most mundane things in our daily life and making decisions about what we can do. Things that don't do it are pointless. Therefore, inaction is the overlap of daily routines that always have to do something as if doing nothing.

Artist Kim Jinkyu paints intangibles while maintaining a multi-layered perspective. In other words, he is translating formless landscapes into visual language. drawing the intangible. Perhaps quite contradictory to the visual arts. To draw things that have no form. A reinterpretation of things that do not have tight boundaries. That may be how Kim Jinkyu sees the world and concentrates on it. What he wants to draw is visual traces of the intangible. To be precise, they could be traces of an accident. And his perspective is composed of various layers. The artist's perspective, located in a multi-layered perspective, is located in the middle where he can think of the spaces above and below at the same time, and in other words, it is a space of reflection and deep thinking. It is a space where multiple perspectives of the world can exist at the same time.

Artist Kim Jinkyu reads everyday life with inaction. In order to understand the various moments of life from body to mind, he focuses on what not to do rather than what to do. He becomes more interested in the things through which his thoughts flow, rather than focusing on the things he has to figure out and decide. Therefore, he does not need a form in his daily life. something to think and reflect on. Analyzing and visualizing the streams of consciousness of the most unchanging things from multiple perspectives. From what point do we really think and look at the world? Kim is asking about it. Of course, the answer lies with me the moment the question is asked. I, how many layers of perspective can we define and view the world? Even if it's not about justice, how can I find reasons to look inside me? The artist Kim Jinkyu asks himself.

Hanji(Koran paper) maintains its absolute flatness while absorbing ink and paints. Of course, Matiere can express a lot of expression on it, but I don't think it is necessary for Matiere to express strong expression on Hanji. Because there are many materials that can be made with a harder surface and basic. Artist Kim Jinkyu creates another visual layer through collage work using the flatness of hanji and the fibers of hanji. The boundaries of torn Korean paper are extremely flat, and on the other hand, sharp fibers are exposed, and the boundaries create various images. The artist Kim draws his daily life, which naturally concentrates in motion, while working on various collages and point works that utilize the nature of Korean paper.

Creating a space of reflection, a space of various layers to look at the world, Artist Kim Jinkyu is expressing intangible landscapes. It is his visual artistic language that can be more suited to the act of looking than drawing. The reason he point of views is like a kind of declaration of the social function of art beyond self-reflection. Why should we draw Why should we think about the world beyond self-reflection through painting? A constantly changing nature is not intangible because it has no hard boundaries. Because it has the most obvious concept. Concepts literally belong to the mental part. Therefore, the nature he wants to look at has a greater meaning in mental thinking than in form. What are we living now and what do we want to live? The Artist's will for everyday life is the most firm will for human beings to live. In other words, it is the will to live a happy and worthwhile life. The intangible landscapes he draws from a multi-layered perspective. The will of life contained in those landscapes. In the end, they are questions and answers about the meaning of daily life and life that started from inaction and intangibility. (Written by Yim Daesik)

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