2023.3.10 - 4.1

The term 'still life' means a life that is stopped, a life that is silent. So, in the history of art, still life painting, as a painting of objects that cannot move or have no life, has meant a stopped nature. And it has also been interpreted as a symbol that evokes the value of life through death. The moment it is liberated from the past form and meaning, the painting breathes with life. It becomes a living being.

Debbie Kim's painting crosses the boundary between figurative and abstract. In her recent works since 2016, the shape of the curve, which mainly constitutes the canvas, reminds us of various shapes such as circles, body parts, and holes. And in the 2022 solo exhibition, it was expressed in a more specific form such as an eye. By appropriately arranging the canvas segmented with geometric and flexible lines and materials that are secretly and realistically drawn, the artist expands the viewer's gaze to freely move between abstract and figurative boundaries. In the still life works, flowers, skeletons, lizards, and some shapes that look like women’s breasts. The some shape that looks like a woman’s breast is an icon that can be understood in a similar context to some shape that looks like an eye. Her paintings liberate the traditional still life symbols and give a strange feeling of abstraction and figuration mixing. Some shape that looks like an eye or a breast may look like a hole embracing darkness, function as a formal element that gives a sense of visual depth on a flat surface, or allow you to experience the ambiguity that exists beyond what is seen. The multifaceted nature and uncertainty of Debbie Kim's work induces three-dimensional emotions. Also the rich possibility of interpretation makes the work more vital. 

In 2017, Miseon Yoon attempted to change her work. It was due to the internal change of wanting to affirm one's gaze toward others who had been hardened by the wounds deeply imprinted in the heart, the questions about human nature and good and evil, which were the main sources of the work. And it was implemented in a way to create a new image unique to the artist by disassembling the shape of the object and rearranging it into parts of an organic figure. The form of her recent works clearly reveals the characteristics of Cubism, which visualizes analytic interpretation by dividing forms into planes. Among them, the spherical shape is an important element in the composition of the canvas and symbolizes the balance ball to the artist. The balance ball is the focal point that reveals emotional darkness in its purest form, as it is. Also it is a reflection of her own motivation to greet the human destiny of anxiety and fear with a gentle attitude like a sphere. In addition, by using pencil and graphite materials, it expresses emotions of extreme detail beyond the expressive power of acrylic or oil paint. 

Yaikel grew up in Chile, which was just beginning to open to the world. Chilean cities in the millennial era were places where graffiti, skaters, and subcultures appeared, and folk and traditional landscapes coexisted. In this environment, he began to paint. The unique street culture of Chilean cities where various time and space are mixed and professional art education comprehensively influenced his art. The raw power of nature, urbanity, desert, folk culture, ancient civilizations, and legends are the materials that give him artistic inspiration. The artist said, “I paint what I am interested in, mainly nature and human things.” His paintings, which contain elements of nature and man-made, future and past, imagination and reality, deliver dynamic and fantastic energy. It seems to embody the attributes of a boundary whose meaning and form are infinitely expanded through painting. And the organic, geometric composition of the canvas and the use of intense and bold colors play a role in doubling the original emotion of his paintings. He is using various media such as paintings, murals, prints, and fabrics.