Yongchul Kim. Floating
I have long thought about my function as an artist in society and how I can become active. In order to reach an understanding in this regard I must first gain an understanding and an awareness of myself, I must discover who I am and what influences me, etc. In the process, I pose the question: What does the role of the artist in society look like and what responsibilities accompany it. This is the point where the main motivation for my work begins.
The “floating” theme is motivated and connected by two parts of my work. “Reflection” and “recording.” This not only contains the literal meaning of the terms, that something spatial disappears and moves, but also the original question concerning the uncertainty and existence of the change. I furthermore question the themes that I assume to be true to the present day.
The theme of “reflection” is a part of my work. It concerns perception and my view of the world as well as self-awareness with regard to society.
“Painting” and the “white two-dimensional” are a method in which my conscious and unconscious perceptions are reflected. This helps me recognize myself and the world. In the process, I proceed in such a manner that I combine them with political situations and work out my perspective and interpretation.
An important motivation for my work is hence “recording,” albeit not in the sense of journalism and it contains no causality of an occurrence.
It is, so to say, a process in which I combine an event or a situation in society with my own experiences and construct a story on the painting. I furthermore reconstruct new perspectives with symbols and metaphors and show these to others.
“Floating”: Dark and Abstract in the Concrete.
The figure is the focus of my work. A separate story is constructed on each painting and becomes dark or richly contrasted for atmosphere and dramatic effect. In the process, the expression “abstract” or “distortion” derives from the uncertainty I mentioned at the outset. I not only paint a figure or an object as a concrete form but also the abstract expression, the distortion. In addition, there are elements like water or liquid things on the painting that reflect something. They express what is true.
Artist’s Note: Reflection
I lightly touch the water on an undetermined shore; it flows over the palm of my hand. The water remains in my palm for a moment, only to flow back shortly thereafter before repeating itself.
I now immerse my hands deeper in order to grasp more water.
In order to grasp more, I bend down.
At first, I recognize my hands reflected in the water, then also my face that moves on account of the light waves.
The waves deform my face in an unusual manner.
At one moment, my reflection shows me with three eyes, at the next with one and five lips, only to then dissolve and reemerge in ever new distortions.
I kiss one of the lips and try at the same time to grasp the reflection from below with my hands and lift it up.
In this way, I come into contact with the three eyes, five noses, twenty ears of my reflection or me, the void.