Through the border between the artist and the audience, I desire to depict the world both in visual and spiritual sense. In my belief, art was what drew me nearer to the world, yet helped me see it from a different eye.
I seek to create works that express the genuine me, the world, and its spiritual presence. Through these ideas, I continuously develop a relationship between colors, shapes, portions, ground and mediums. However, the physical elements are not the only relationships which have been bonded through this progress. The work itself and I, the space and energy and never-ending cycle of questions from the mind continues to build the art that I have built until now.
Being featured "One to Watch" at SaatchiOnlineGallery
-From 'HyunRyoung Kim;Relatioal Space Catalogue Essay
Although HyunRyoung Kim's large abstract painting make bold visual statements, their development stems from a place of quiet introspection and contemplation.
Kim explores relationships between colours, shapes, figure and ground in a visual language that is at once intellectual and emotive. Kim aims to depict both the 'fact' and the emotion of the world around us; the sensorial as well as the spiritual or ephemeral. Kim invites us to open up to the infinite possibilities of connection with and exploration of the world around and within us.
One omnipresent element of this world, as it is played out in these spare, ethereal and yet evocative works is a strong black line; a striking contrast against the large expanses of white, and the pale, amorphous blooms of colour that make up the canvas. To Kim, this line is a representation of the force od fate in our lives, which for her is given-a 'fact'-and its incursions on the canvas are emblematic of fate's interactions with all the ideas, emotions, relationships and events in our lives, made manifest on her cancases in large, gestural, abstract forms.
The black line of fate is juxtaposed with the visual embodiment of the perhaps more capricious and ephemeral aspects of our lives; our fleeting thoughts and desires, our brief encounters. Indeed, both on the plane of the canvas and in life, it often seems that the external momentum of fate threatens to intrude upon these internal, personal elements by force. But in Kim's work, however unyielding the black line of fate line may be, it sometimes seems thrown off course, veering out of the way of the vibrant ebullience of emotion. We are left with a sense of movement, contrast and change. Our lives are constantly in flux; we constantly course correct based on new information, events, and influences. Kim's canvases speak to this resilience, mutability and resourcefulness in the face of the monumental and unrelenting.
- Kendra Ainsworth (AGM Assistant Curator )