Exhibition Information

Sea Bathing
2021 oil on canvas 왼쪽 위 90.9×72.7cm, 왼쪽 아래 90.9×72.7cm, 오른쪽 위 oil on canvas, 53×65.1cm, 오른쪽 아래 oil and oil pastel on canvas, 72.7×90.9cm

2021 oil on canvas 193.9×112.1cm

2021

2021

			Introduction

Kim Hana has been working on visualizing the nature of human life through the surface, texture, and physical properties of painting. The author does not stop at painting as an aesthetic object, but explores the texture and nature of his actions and surfaces that occur when they meet. By making the surface texture and materiality as thin and flat as possible, both the painter and the beam are drawn close to the surface, leading them to focus and sense the outer skin of the painting. The exhibition examines references that can emphasize metaphors and embodies the texture and properties of the surface. In an era where digital screens are overflowing with images, we hope that this exhibition will allow both artists and visitors to feel new.

Contents	

Kim Hana attempted a different change through the exhibition of Sarubia. Having experienced a period of concentrating and responding to vague creative instincts for the past eight years, the writer began to detect changes in internal conflict factors gradually finding stable conditions. And with a universal attitude that is not tied to certain values and ways of life, I wanted to find other places of life and find new ways and values. It started at a studio in Incheon, where the sea is next to it. Here, he stared at the sea he had missed, took a walk around, and enjoyed the reason. This attitude naturally changed the motif of creativity as well. Through various media such as movies, documentaries, the Internet, and photographs, the interest in scary and unfamiliar things has now shifted to everything seen from everyday experiences such as the sea, buildings, travel destinations, and surrounding areas. Furthermore, the subjective gaze that the author is looking at here has widened the range of senses by summoning what was not recognized in memory, overlapping and listed with the current image. The writer himself sensed that the depth and immersion of looking at and thinking about the object were getting stronger. This change has also transformed the writer's coordinated relationship with space. The changed perspective has opened up a different dimension of perspective, in a way that places a constant distance from space, in a time when visibility is narrowed to an invisible degree, in emotion rather than concept, and in an intervention rather than setting.

The artist suggested the Sarubian exhibition space as 'Sea Bathing'. The process of finding motifs in paintings, overlapping virtual and physical spaces, became the starting point of the work plan. The underlying figures from the relationship with space were embodied in the studio, each taking different shapes, colors, and properties in the process. These works are located according to the movement and specificity of the space, with each name held by the author's narratives and imaginations. In determining the unique location, it was color and nature that approached sensibly, recalling all the structures of this space. This color and property takes into account the size of the screen and raises Kim Ha-na's sense by creating a shape, building a concept, applying the text to the image, implementing spatial installation, setting movements, and taking into account the size of the screen. His paintings, which cannot be defined by anything, are diverse and subtle and feel like they have light in space. And the margins and layers in the process of abstraction were covered with traces of brushstrokes and perceptions done over the past eight years, thinking about the flow, volume, and support of space. In particular, "Kim Yu-ha" and "Ground 2" among the exhibition works reveal the effect of the two screens overlapping like negative and positive to metaphorize the actually experienced features. The work "Next to Me" is, on the contrary, read as a gesture to escape from the frame trapped beyond reality toward ideals. By repeatedly erasing and arranging the language and images of the works, language and images are reborn as one body and naturally dilute their boundaries.

These works are the objects of enjoyment that are filled with the thoughts and imaginations of others from the moment they leave the artist's hands. It is a space that unfolds differently depending on the perspective of the batter. The space created by this exhibition of paintings is not in the frame, but outside the frame. Thus, assuming a directed work is a point, the line leading from the margin between the point and the point to the finite points is met, space, and extended to dimensions including time. At that moment, the exhibition title, work title, clues to creation, paintings erased in the process of creation, and the journey of time may disappear. From the moment he opens the exhibition, his thoughts may be there for another ideal beyond the horizon of that sea.  
 
Lee Kwanhoon / Curator