KIYA KIM artist & curator
Through my paintings, I speak out with my soul. While I am painting, I feel as free I possibly can feel. Things that I make in mixed media are often playful. They also show my curiosity about the world around me. Perfection is nothingness. Then I go on to just try and look within myself and enjoy discovering new ways to express my life as art. I want to look around and see what is in the world for as long as I live. And I have always been interested in the human spirit.  So in order to understand the human’s personality, way of thinking, concepts of fellowship, etc., I read one of book about pattern recognition. I was very impressed by that theory, therefore I am going to try to discover myself and other people while I create artwork as a method of pattern recognition. As I speak about my art, I don’t want to focus on one section because my life is unusual. What I want to say is that l live in the art now, and in the past, and in the future. www.kiyakim.com

Constructing the aftermath of invented ceremonies and transcendental experiences from materials mined from vernacular culture, hardware stores and inherited collections of fabrics, I mimic the human endeavor to understand the universe through a bizarre confluence of real events, daydreams and preexisting fables.  Through this combination, I establish psychological sites for disparate elements to congregate in environments that are simultaneously haunting, familiar and alien.  These tragicomic installations are private, uncensored, darkly humored and most often involve the direct participation of the viewer.

Most of my works are based on the concept of super huge sculpture land [not land sculpture], sculpture park, sculpture park, sculpture edifice and seabed sculpture park from Earth to Space. I enlarge the size of these in the reduced scale, transforming them into plastic forms in this way. After this, I combine them to create a unique existence. In tension and delight, I perceive a situation of contrary correspondence for macrocosmic world. www.youngpaik.com

When I was growing up in Korea, I always noticed a family portrait adorned  by an antique frame, placed at the center with care, where it can be shown with dignity. Those tarnished and yellowing photographs would reveal the amily’s past, leading in the present and even the future. This image became imbedded in my mind. And while pursuing my artistic activity in New York City for the past 23 years, the memory of this same image became the driving force for my creative outlet. Throughout the 5,000 years of history, we Koreans placed much emphases, on living in harmony with nature, and paying respect to the parents and elders. Whether the items were antique or new, it was customary for the previous generation to hand over those ancestoral objects to the next generation, as a ritual. The objects that were used and are no longer useful, still has its unique history and invaluable story to tell. And through the passage of time, this particular object went through, it has social, cultural, political and religious significance- that might or might not be historically correct in reflecting the true past. Pinpointing this aspect, has become the motto of my work. My main work consists of painting, and assesblage of discarded objects, cast away from our indutrial consumer society; as i formulate it into a sculpture or a panel, to rearrange and reconnect these found objects, to ␣give it a new meaning and rejevenate its life. Therefore, the clash between post-industrial civilization, and the present capitalist culture, becomes my main theme and casue for concern; as I also ponder about the role of religion and how it effects our everyday existence, to find the ultimate meaning of life. www.chonggonbyun.com

Exploring paradoxical current affairs and our tendency to feel powerless to confront the crises of our existing surroundings, I use a wide array of materials including, found objects, craft oriented assemblages, fabric and recycled items to create sculptural platforms where material and concept meet to transform space and the way we view it. The work speaks to interactions between human civilizations, hierarchical powers of societal success, relationships, and nature with an emotional resonance that takes the works beyond any one of these single issues and into a universal realm.  In a culture obsessed with mass production and disposability my work is a conduit of my opposition to this standard.  With laborious craft and a handmade touch, the imperfections and human attributes of burdens, failures and achievements of our everyday are exposed. I look at the work as a self-exploration of the subconscious, where I try to physically create a state of mind.  Responding to Carl Jung’s idea of artists and alchemist’s projecting part of their psyche into matter or inanimate objects, possessing in a sense a “secret soul”, the objects eventually live out a life of their own. www.carolynsalas.com

The main aspect of my art making is to explore unexorcised images from the world of dreams and infantry, follow them to their farthest points and then represent them in unique combinations of digital and physical form. My intended result is fully restore the dynamic and beauty of the intense image world. My projects start from creating a variety of characters which root in dreams and subconscious images. In a belief of animism, everything in my artistic observation has been represented as a form of visual characters. Hundreds of characters have been created trying to surface and categorize the subliminal beings into the clarified forms. The characters unfold narratives by their fantastic reality following a structure of interwoven dream logic. www.eunjunghwang.com

My works produced in New York during 2000’s represent my desire to escape from my works in Paris usually expressed vehemently; I secretly decided to refuse the bright acrylic colors stubbornly. I can hardly deny the fact that my working environment changed because I moved my atelier from Paris to New York. But, I was vividly aware of identity of the European fine art stagnated incessantly in tradition and conservatism. Nevertheless, I could not abandon my first images. The hither-to aboriginal and primitive fancy free expressions of images were planted too strong in my consciousness. So, my earlier works in New York for several years featured the intense lines on the black basis or the color layer created with numerous brushing. In particular, my lines were playing the role of creating some painting images more and more in order to express a playful emotion. The signs I used then, namely numbers and letters, highlighted and expressed a medium of spirit seemingly imprinted or dragged in our modern men’s consciousness, while approaching the painting forms in a modern way. The oil paintings which I began to produce on a full scale at my New York atelier in an old wooden building constructed during 1930 were the expressions of my will to search for a playful emotion or amusement incessantly or reilluminate the instinct of images immanent in our human beings’ psychology. The playful emotion is inherent in pleasure, grief and loneliness. My paintings will touch such senses at least to search for another modern moralism. Now, 5 years after, I am interested in line drawings in harmony with another expressive form or the thick matiere of color to represent the same images. I am looking for my own materials and my own forms of expression. Although every artist is obliged to do so, I will keep in mind Picasso’s admonition, “Imitation of others’ works would lead to another creation, but I do not paint again, imitating my own works.” www.choiwoolga.com

My current work derives from my fascination with the comparison of human activity and natural phenomena as it corresponds to the circulation of destruction and creation. It consists of installations often made out of mundane objects and common manufactured products from the detritus and excesses of consumer culture. In giving these everyday materials new meanings and aesthetic possibilities, I strive to actively practice the concepts of the Eastern philosophies of the circulatory life system and the continuous flow of connections. “Rock” is a continuation of my ongoing concepts of physical fragility in our daily life. I utilized the aluminum foil and and other materials and made it into a glimmering orb-like vessel that appears to be aggressively formed as a massive rock but yet it can be easily damaged by any outside force because of the delicate materials. This work balances and plays with the dichotomy between destruction and creation within nature. Working with everyday materials and mass produced items allows me to give them new contexts. In doing so, I reconnect such items to the world in unexpected ways. www.hongseonjang.com

My work is about our relationship with home and domestic place and what it means to each of us as a physical place, a way of life and a map of memory. I draw the passing of time, repetitions of behavior, my interaction with people and their domestic spaces. All blends to create my sense of reality. I record, trace, map, alter, translate and transform, using sculpture, drawing, collage and installation. I draw and build fictive spaces to situate myself in ephemeral reality. In my drawings and installations, the space I create becomes an imaginary space, which holds emotional experiences and contains compressed time of life. www.heejungcho.com

My installations investigate the relationships of actual space, environment and materials with the viewer’s inherent and often programmed opinions of them. My goal is to challenge intrinsic perceptions by suggesting that the objects of our reality are not always what they seem. I use found objects because they help redefine prescribed meanings and values, especially when assembled into entirely different structures. The question I want the viewer to ask is, “Are these familiar objects just as recognizable when serving an entirely different purpose? And just as important, does their transformation modify their value?”  The viewer is challenged to assess the evolution of the chair from once functional objects, to castoffs and the substance of a structure, whose existence within a functional space is itself transient. Equally significant is the alteration of the space in which the “new structure” is installed. The installation creates a chaotic moment that appears to be a natural occurrence and thereby tests the pre-existent purpose of the space.   People encounter such installations as a speed bump in their perceived reality.  Once the installation is removed, the memory of that “bump” is a lingering consciousness of the limitations we impose when restricting reality to face value alone. www.jasonpeters.com

My process always begins with materials, each with their own unique sensual properties and demands. Paint is malleable and lends itself to rapid application. Drawing is the most direct of the physical mediums; it is the resistance of graphite pressed against the weave of the paper. I use #6B pencils; the softness of the lead allows me to press hard and get a rich mark that literally bonds to the paper. Printmaking involves culling a variety of discrete visual elements and, through improvisation, composing them using a range of print methods. My print process is open and mutable, investigation more than reproduction. Hand drawn, stop-motion animations are a constant effort in letting go, each frame erasing the one before.I create environments in which human and animal characters from disparate times and cultures interact socially. Using sources ranging from Jungian philosophy to classical myth to images from popular culture, I question what happens when mismatched archetypes cross paths in disjointed landscapes. An ambiguous yet crucial element to the spaces I make, time moves in all directions within the picture planes. Erasure, fragmentation, juxtaposition, and revision are key elements to all forms of my work. I find cryptic revelations through the accumulation of disappearing layers. Ultimately my work comes down to the haptic mark and an exploration of the fuzzy territory between figuration, abstraction, and story.www.julieevanoff.com

Both transparent and solid, this site-specific string installation addresses the process of life while toeing the line between drawing and sculpture. Why is it that we make the same choices and walk the same paths? The installation’s seemingly simplistic aesthetic captures the ambivalences of the phrase ‘Man is a Creature of Habit’ and calls the viewer toward introspection.

I use the medium of digital video to transform time into a tangible material. I focus on the passage of time by analyzing motion, and when filming, I look for continuous motion that embodies both repetition and variation. I use this footage to develop textural works that compress vast amounts of time into small amounts of space. To achieve this, I have developed a technique that isolates the moving elements from the fixed elements. In my current series I use the patterns of architecture to serve as the static framework from which I divide and redistribute the natural sequence of events. It is an important distinction in my work that only the temporal aspects of each piece are manipulated and that nothing is physically displaced. This methodology allows me to explore time on an inch-by-inch basis rather than day-by-day. www.noahklersfeld.com

(1) I am a post-minimalist and post-conceptual sculptor and media artist drawing from a variety of artistic practices.  (2) My artistic work is often based on participation or embedded in local communities. Audiences can make us learn better, and see things we would not have known yet. I understand both, intelligence and creativity to be profoundly social. (3) I think art continually has to create new images for the time we live in; for the conditions and issues we deal with: existentially, politically, physically, and globally. Searching such images is what I am aiming for. (4) Collaborative Silverware is an installation and performance piece that deals with the scarcity of global resources and the necessity of sharing them on a planet that’s not only densely populated but highly interconnected. www.richardjochum.net

The pursuit begins from the ordinary, the mundane. Through an act of illusory, SeaChang Chun transforms the trivial into something of intrigue. The essence is never lost, merely molded into a perfected end.

MetroCards. Usually we swipe them in a hurry as we go through the turnstile, hoping we haven’t missed the subway. Or dip them as we enter a bus, hoping there’s still enough money on them to pay for the ride. But we barely notice them; they’re as omnipresent and invisible as pigeons. I stopped to look at them one day and haven’t looked back yet. In their limited palette, I’ve found an ever-expanding world of images, colours, ideas. Mosaics, collages, portraits, abstracts, constructions, dioramas, combination drawing and collages, all these keep pouring forth from this little object, not much bigger than two by three inches. Some of the pieces are the exact size of a MetroCard; others cover large sheets of papers; still others are structures two inches thick, made of literally a thousand MetroCards. Finding the cards to use is part of the experience. And perhaps because I’m from New York, and this is my world, without setting out to, I’m creating a world from one of its iconic symbols. I’ve shown these and other work at such spaces as HQ Gallery, LMAK Projects, the Small Works Show, and Ziehar/Smith.