The process of her artistic creation involves all three categories of knowledge formulated by Aristotle: Theoria (learning by meditation), praxis (learning by action) and poiesis (learning by making). Theoria indicates the kind of intuitive knowledge which goes beyond conceptual comprehension.
By synergistically deploying three modes of knowing, Kim aims at transforming her creative process into an integrative act of brining ‘embodied truth’ into existence. Her artistic activity starts from the meditation on the Transcendent, truth, self and its relation to the world and others (theoria). This contemplation leads to actual creative process of painting (praxis) which eventually brings forth the embodied truth that exists in and emerges out of the artworks (poiesis)
The main stylistic features of the works are classified into three distinctive categories described below. Each of them is a unique meditation process which reflects on human spirituality and the moment of their encounter with the Unseen. The sculptural paintings are the consequence of artistic construction that steps into the deconstructive orbit that goes after the shimmering vestiges of the Ineffable, its presence and absence of presence. The sought-after is not depicted as dominant figures or object in the works but the traces coming to light through the relational interaction among the compositional elements.
Relief/color field series: The sculptural paintings incorporate the concept of dynamics in tranquility. In various spiritual practices, especially in the Eastern culture, values the devotional and meditative process that often includes repetitive ritualistic acts done in tranquility. The composition of the paintings comes forth through the attenuated differences in color fields and textures that consist of repetitive touches of painting knives and brushes. Each strokes building up the composition continuously into suggestive forms are the reminder of the introspection on one's own spirituality or the interaction with the Unseen. With its thickly applied paints, the canvas is incarnated into the embodiment of the abstract, incessant meditative process.
The works also deploy the idea of negative space. The word Ma or Khan (間) connotes 'interval', 'gap', or 'distance'. The spatiality generated through this unconventional method of 'depiction' brings attention to the chiaroscuro effect from the contrast between shade and light created by the gap or dented space on the surface. The interval, which is an absence of depiction or emptiness, brings in its shimmering presence through the negative spatiality. While the great artists in the Baroque often generated chiaroscuro effect through the use of pigment on two-dimensional space, the works here creates the contrast effect by the actual three dimensional spaces by the process of filling in and emptying out. In traditional Korean art, the beauty of a blank space has also been greatly appreciated. Unlike the artistic exertion to 'represent' or 'depict', which has prevailed in the history of visual art, Ma shades new light on the issue of the metaphysics of presence. In the same way, a religious or spiritual inquiry also finds a clue when it comes to one of the most fundamental question of the presence or non-presence of the Transcendent in relationship with humans.