Welcome to Kim, Jungja's Website
상단메뉴



무제 문서










work experience & exhibition art statement  
작가경력

1982   조선대학교 졸업(한국화전공)

1984-1993  중고등학교 교사

개인전

2013 Elga Wimmer PCC Gallery, New York
2012 줌 갤러리, 서울
2011 핑크갤러리, 서울
2011 인사아트센터, 서울
2007 예술의전당, 서울

아트페어 및 부스초대전

2016 핑크아트페어            JW Marriott Hotel Seoul
2015 부산국제아트페어         BEXCO (부산)
2014 현대회화제              예술의 전당(서울)
2013 현대회화제              예술의 전당(서울)
2013 핑크아트페어            코엑스인터콘티넨탈호텔
2012 핑크아트페어            코엑스인터콘티넨탈호텔
2011 한국현대작가 초대전     예술의 전당(안산)
2011 Scope New York 2011     Lincoln Center Damrosch Park
2011 RED DOT               New York
2011 핑크아트페어            코엑스인터콘티넨탈호텔
2008 KIAF                   서울 코엑스

수 상

2005  -제24회 대한민국 미술대전 비구상부문 문화관광부 장관    과천, 국립현대미술관
2004  -제16회 한국화 특장전국공모대전 우수상                  광주, 비에날레전시관
2003  -제32회 구상전 공모전 장려상                            과천, 국립현대미술관
       -제15회 한국화 특장전국공모대전  특선                   광주, 비에날레전시관
2002  -제31회 구상전 특선                                      과천,국립현대미술관
       -제14회 한국화 특장전국공모대전  특선                   광주, 비에날레전시관


단체전 및 초대전

2016 서초미술협회전                                                    한전아트센타
2015 구상전                                                                올갤러리
      CHENNAI CHAMBER BIENNALE                           Lalit Kala Akademi      
제90회구상전회원전                                        서울시립미술관경희궁
2014 현대회화제                                                       서울예술의전당
      서초미협전                                                         한전아트센타


2013  Tenri Gallery                  New York
       현대회화제                                                     서울예술의전당
       서초미협전                                                       한전아트센타
       핑크호텔아트페어                                             인터콘티넨탈호텔
2012  서초미협전                                                        한전아트센터
       현대회화제                                                     서울예술의전당

2011  -현대미술100인초대전                                 안산예술의전당
         -한.중수묵교류전                                       광주의재미술관
         -Pink Art Fair                                             코엑스인터콘티넨탈호텔
         -미술단체페스티벌                                         예술의 전당
         -서초미협전                                         서초한전아트센터
        -광화문 아트포럼                                          세종문화회관
        - 2011 제주특별자치도문화진흥본부 초대전     
        -Scope New York 2011                            Lincoln Center Damrosch Park
2010  -구상전                                                         성남아트센터
       -서초미협전                                                     한전아트센터
       -서초한국화기획초대전                                          팝아트갤러리
       -구상전기획초대전                            경주세계문화엑스포공원문화센터
       -구상전기획초대전                                            울산현대예술관
2009  -구상전                                                    세종문화회관별관
2008  - 40주년기념 100호 회원전                                     세종문화회관
       -한국회화 33인 초대전                                         갤러리 타블로
2007  
        - 한국화대전                                           광주 비엔날레전시관
        -구상전                                                       성남아트센타
        -구상전소품초대전                                             월산아트센터
        -서초미협전                                                     한전프라자
        - without boundary Place : Lennox Contemporary Gallery 12 Ossington Ave.                                                                              Toronto
       -필단의연                                                  전라남도옥과미술관
2006  
     - New York Art Expo                              JACOB k. JAVITS CENTER    
     - 만남 그리고 공유전                                      율갤러리            
       -한국화대전                                   광주비엔날레전시관              
2005  -제24회 대한민국 미술대전                                과천, 국립현대미술관
                                                                                             -구상전 소품초대전                                           대구, 우봉미술관
       -KAF 2005 코리아 아트페스티발                                  세종문화회관
       -73회 구상전                                                 안산, 시립미술관
       -한국화대전                                                광주비엔날레전시관
2004  -제16회 한국화 특장전국공모대전                          광주, 비에날레전시관
2003  -제32회 구상전                                           과천, 국립현대미술관
       -한국미술협회전                                                   예술의 전당
2002  -제31회 구상전                                             과천,국립현대미술관
       -제14회 한국화 특장전국공모대전                          광주, 비에날레전시관
                                                                              
2001  -제30회 구상전                                            과천, 국립현대미술관
                                                                  
2000  -제29회 구상전                                           과천, 국립현대미술관  
         -갤러리회화제                                                    조형갤러리
         -서울미협전                                                  서울시립미술관
         -안견미술대전                                                      공평아트
                                                                  
         -한국미술협회전                                                 예술의 전당
1999  -제28회 구상전                                           과천, 국립현대미술관
         -한국여성수묵인물인회                                              공평아트
         -여름벗부채그림전                                                이브갤러리
         -안견미술대전                                                 예술의 전당
--------------------------------------------------------------------
현재
        대한민국미술대전 초대작가, 한국화특장공모대전 추천작가, 구상전, 서초미협, 한국미술협회

<작품소장> 국립현대미술관, 안산예술의전당, 서울대학병원, STI엔지니어링 등


주소
집    - 서울 서초구 남부순환로315길 80-37 (구: 서초3동1479-10)


전화번호
       010-8928-8692(C.P)
  -----------------------------------------------------------

<Tel.> 010-8928-8692(C.P.)  
E-mail. kjjstella77@gmail.com
        jjstella77@naver.com  
<Homepage> www.artkimjungja.com      
<Address> 1479-10, Seocho 3dong, Seocho-gu, Seoul, KOREA



〓〓〓〓〓〓〓〓〓〓〓〓〓〓〓〓〓〓〓〓〓〓〓〓〓
 JUNGJA KIM


Born in Kangjin, Korea

Present     Member of Korea Fine Art Association
                Member of Gusangjeon
                Member of Professional Artist Association
                Nominate Artist of Korean National Exhibition
  
EDUCATION & WORK EXPERIENCE

1997-2001   porcelain, (Wooily0)
1994-2000   portrait, Seoul Academy Center, Seoul, Korea
1978-1982   CHOSUN University : BFA in Oriental painting


EXHIBITION

2013 Elga Wimmer PCC Gallery, New York
2011  Pink Gallery, Seoul
2011  INSA Art Center, Seoul
2011  Pacific Fine Art, Soho New York
2007  Seoul Arts Center

Art Fair and Exhibition Booth

2016 Pink Art Fair,  JW Marriott Hotel Seoul
2015 Busan International Art Fair, BEXCO

2014 Contemporary Painting first, Seoul Arts Center
2013 Contemporary Painting first, Seoul Arts Center
2013 Pink Art Fair, COEX Intercontinental Hotel
2012 Pink Art Fair, COEX Intercontinental Hotel
2011 Korea Contemporary Artists Exhibition  
2011 Scope New York 2011, Lincoln Center Damrosch Park                      
2011 RED DOT, New York
2011 Pink Art Fair, COEX Intercontinental Hotel
2008 KIAF, Seoul COEX


-------------------------------------------
Awards & Professional Affiliations

2005  The Top Prize, The 24th Korea Grand Art Exhibition, Gwrcheon, Korea
2004        Superior prize, Korean Traditional Painting Competitio, KwangJu, Korea
2003        Grand Prize, The 32nd Gusangjeon, Gwrcheon, Korea
2002  Special selection, The 31st Gusangjeon,         Gwrcheon, Korea
1999-2001  Notable mention, The 28,29,30thGusangjeon, Gwrcheon, Korea
1981  Special selection & Silver Prize, Grand Fine Art Competition of Korea Universities, National Museum of Contempuraly Art, Seoul, Korea
-------------------------------------------

GROUP EXHIBITION

2016 Seocho Art Association Exhibition, KEPCO Art Center

2015 CHENNAI CHAMBER BIENNALE, Lalit Kala Akademi
      Gusangjeon, All gallery
2014 Modem Painting Exhibition, Seoul Arts Center
      Seocho mihyeopjeon, KEPCO Art Center
      Free throw, All gallery
2013 Tenney Gallery,  New York
      Modem Painting Exhibition, Seoul Arts Center
      Seocho mihyeopjeon, KEPCO Art Center
2012 Modem Painting Exhibition, Seoul Arts Center
      Seocho mihyeop painting Battle, KEPCO Art Center
      Seocho Art, Seocho-gu Office
      Seocho mihyeop exhibition, KEPCO Art Center
2011 South Korea and China Ink Paintings Exhibition, Uijae Museum
      Korea Contemporary Artists Exhibition, Seoul Arts Center in Ansan
      Gwanghwamun Art Festival, Sejong Center for the Performing Arts
      Seocho Art Association Exhibition, KEPCO Art Center
      Scope New York 2011(Lincoln Center Damrosch Park),
      RED DOT New York, Soho New York
      Pink Art Fair, COEX Intercontinental Hotel
2010 Seocho Korean Painting Exhibition Planning, Pop Art Gallery
      Gusangjeon, Seongnam Arts Center
      Seocho mihyeopjeon, KEPCO Art Center
      Gusangjeon Exhibition Planning, Gyeongju World Culture Expo Park Cultural   Center
      Gusangjeon Exhibition Planning, Ulsan Hyundai Arts Center
2009 The Gusangjeon The Annex to the Sejong Center, Seoul
2007 The Korean Painting Grand Exhibition, The Gwangju Biennale Gallery
      The Gusangjeon, Seongnam Art Center, Kyungkido
2006 The Korean Painting Grand Exhibition, The Gwangju Biennale Gallery
2005 The 24th Korea Grand Art Exhibition, National Museum of Contemporary Art, Gwacheon
2004 The 16th Korean Traditional Painting Exhibition, GwangJu Biennale Gallery
      The 72nd Gusangjeon, National Museum of Contempuraly Art, Gwacheon
2003 The 32nd Gusangjeon, National Museum of Contemporary Art, Gwacheon
      The 15th National Korean Painting Competition, The Gwangju Biennale Gallery
2002 The 31st Gusangjeon, National Museum of Contemporary Art, Gwacheon              
      The 14th Grand Competition of Korea Fine Art Association, Gwangju Biennale Gallery
2001 The 30th Gusangjeon, National Museum of Contemporary Art, Gwacheon                                      
2000 The 29th Gusangjeon, National Museum of Contemporary Art,  Gwacheon
      Ankyun Painting Competition, Seoul Art Center, Seoul
      The 34th Exhibition of Korean Artists Association, Seoul Art Center, Seoul
1999 The 28th Gusangjeon, National Museum of Contemporary Art, Gwacheon
      

〓〓〓〓〓〓〓〓〓〓〓〓〓〓〓〓〓〓〓〓〓〓〓〓〓

나비의 꿈 The dream of butterfly

관심을 흐르게 하는 명상적 회화

                                                               최 광 진 (미술평론가)

정선과 마그리트의 만남
  
17-8세기 아시아의 작은 나라 조선에서 진경산수화를 통해 미술계를 풍미했던 겸제 정선(謙齋 鄭敾, 1676-1759). 벨기에에서 태어나 20세기 초현실주의 운동의 중심에 섰던 르네 마그리트(Rene Magritte, 1898~1967). 이들이 만나 합작을 한다면? 생각만 해도 재미있는 일이다. 현실에서는 도저히 있을 수 없는 일이지만 오늘날 동시대 미술에서는 시공간을 초월한 동서고금의 자유로운 만남이 얼마든지 가능하다.
정선은 기존의 중국화첩에서만 보던 산수가 조선의 자연과 다르다는 것을 깨닫고 조선의 산천에 알맞은 새로운 표현기법을 창안하여 정체성을 확립한 한국미술사에서 매우 중요한 작가이다. 반면에 마그리트는 일상적인 이미지들을 낯설게 결합시키는 데페이즈망 기법을 통해 존재 내부에 있는 무의식적 신비를 시적인 환상으로 표현한 초현실주의의 거장이다. 김정자는 동양과 서양, 개성과 관심사, 양식과 주제 등 어느 것 하나도 어울릴 수 없을 것 같은 정선과 마그리트를 한 작품 안에 섞어 놓았다.
21세기에 한국에서 작품 활동을 하고 있는 김정자의 작품에서 이러한 이질적인 결합이 나타나는 것은 그리 이상한 일은 아니다. 왜냐하면 오늘날 한국은 국제화의 물결 속에 인터넷과 각종 첨단 정보매체의 보급에 의해 급속도로 세계화가 이루어졌고, 여러 다양한 문화가 혼합된 사회가 되었기 때문이다. 대학에서 전통 한국화를 전공한 작가에게 정선은 결코 외면할 수 없는 혈통적 뿌리이자 동경의 대상이다. 또한 일상적이고 친근한 것을 기묘한 것으로 전환시키며 지적으로 예술적 자유를 구현한 마그리트는 작가가 찾아 헤매는 현대성의 멘토이다. 한국적 정체성과 현대성의 문제를 동시에 해결해야 하는 그녀에게 이 두 작가는 모두 필요한 정신적 스승들인 셈이다.
작가는 자신의 모델인 이 두 작가의 작품에서 부분들을 차용하여 화면에 절묘하게 결합시키는 방식으로 화면을 구성한다. 마그리트 작품을 연상케 하는 공간구성에 난데없이 정선의 고요한 산수가 결합되고 여기에 연필, 우산, 총, 군함, 비행기, 망원경, 불도저 같은 오브제들이 임의적으로 결합된다. 닥종이의 섬세한 질감이나 모시에 물들인 천연염색 등 동양화
특유의 자연적 재료 위에 펼쳐지는 이러한 장면은 외양적으로 매우 고요하고 평화로운 정경처럼 보이지만 단순한 풍경화가 아니라 작가의 숨은 메시지가 담겨있다.  

현대 사회의 도구적 이성비판
출처가 다른 대상들이 텍스트처럼 짜여 현실성이 제거된 듯한 풍경 안에는 총이나 군함, 전투기 같은 무기들이 작은 크기로 숨겨져 있다. 그녀의 작가노트를 보면, 이것은 단지 데페이즈망을 위한 도구만은 아니다. “따스한 햇볕이 들어오는 창가. 향기로운 차와 느긋한 여유가 평화롭다. 이 평화는 진정 지켜질 수 있는가? 내 아들 둘은 군대 생활을 마치고 돌아왔다. 천안함의 아들은 돌아오지 못했다. 연평도에서는 돌아올 수 있는가? … 총이 지켜야 하는 평화는 평화가 아니다.”
이는 이데올로기에 의해 남과 북이 갈라지고 아직도 전쟁이 종결되지 않은 한국의 정치상황에 대한 이야기이다. 실재로 한국의 자연을 돌아다니다 보면 아무것을 없을 것 같은 호젓하고 은밀한 장소 어딘가에 이런 무기들이 숨겨져 있는 현장을 어렵지 않게 볼 수 있다. 한국은 요즘도 천안함이나 연평도 사건 등이 끊이지 않고, 전쟁의 공포가 도사리고 있는 국제적으로 가장 위험한 국가이지만 정작 한국인들은 이에 대해 무관심하다. 작가는 고요한 자연풍경에 평화를 위해 만들었다는 무기들을 장난감처럼 배치함으로써 무력으로 평화를 지키고자 하는 위정자들의 폭력적이고 위험한 장난을 비판적으로 바라보고 있다.  
그렇다면 불도저나 자동차, 숟가락과 젓가락 같은 오브제들도 어떤 의미가 있지 않을까? 또 그녀의 작가노트를 뒤져보자, “서울에서 제주 끝자락까지 발길 닫는 곳 따라 파헤쳐지는 들판, 굉음소리 요란하다. 하나님은 어째서 불도저에게만 응답하시는가! … 불도저의 욕망과 이기심에 순종하는 내 삶은 다른 생명처럼 위태롭다. 나는 자연에 숟가락을 꽂고, 젓가락을 휘젓는다. 나이프를 휘두르고 포크질을 한다. 욕망과 이기심은 만족할 줄 모른다.”
작가는 주말마다 한국의 자연을 여행하며 개발열풍에 온 국토가 신음하는 오늘의 현실을 비판적으로 바라본다. 오늘날 한국은 한국전쟁이후 가장 빨리 도시화와 선진화를 이룩한 나라이지만, 그러한 발전논리 이면에는 도구적 이성과 서구로부터 유입된 인간중심적 사고가 도사리고 있는 것이 사실이다. 계몽과 발전이라는 명분하에 자행되는 인간의 이기적 탐욕과 욕망을 비판하며 작가는 인간과 자연이 동화되는 물아일체의 상태를 꿈꿨던 한국인의 미의식을 복원코자 한다.  

현실적 관심과 초월적 무관심의 변증법

이러한 자신이 몸담고 있는 현대사회에 대한 비판은 작가의 관심사이지만, 이것이 곧 작품세계의 본령은 아니다. 사회적 비판의식이 들어있는 오브제들은 작품에서 고요하고 평화로운 화면을 해치지 않을 정도로 삽입되어 단지 예술적 구성을 위한 요소로서 활용된다. 또 어떤 오브제들은 자신의 애장품을 등장시킴으로써 자신을 간접적으로 개입시키기도 한다. 작품에 종종 등장하는 연필이나 우산은 그런 의도로 차용된 오브제들이다. 또한 간혹 등장하는 목각 인형 같은 인간은 화면에 전개된 현실과 상상, 그리고 동서고금의 시공을 넘나드는 자신의 분신 같은 존재로 보인다. 그래서 그녀의 작품은 전통과 현대, 개인과 사회, 동양과 서양, 현실과 상상 같은 이질적 주제와 다양한 관심사가 모여 있는 종합세트 같은 공간이 된다. 그것은 시각적 진실이 아니라 꿈과 이상, 그리고 사회적 관심과 비판이 혼합적으로 공존하는 ‘두뇌적 진실’이다.
이러한 미술과 개인, 미술과 사회의 절묘한 고리는 초현실주의의 무의식이나 포스트모던 미술의 해체주의와는 달리 모호하게 현실을 재구축하는 방식이다. 데이비드 살레 같은 포스트모던 작가가 고급예술과 저급예술을 한 화면에 충돌시켜 예술에서 순수예술과 대중문화의 이분법적 경계를 해체시키고자 했다면, 김정자의 작품은 해체적 성격보다 구축적 성격이 강
하다. 이는 개인이나 사회의 다양한 차원과 관련을 맺으면서도 의미를 고착시키지 않고 흐르게 함으로써 명료한 계몽성에서 벗어나는 방식이다. 이러한 모호성은 작품이 사회적 리얼리즘이나 이데올로기의 수단으로 전락되는 것을 차단하는 작가 특유의 예술적 전략으로 보인다.    

  이번 전시회에서 처음 선보이는 이러한 양식은 작가의 작품세계에서 매우 급진적이고 획기적인 변화이다. 작가의 초기 작품들은 자연염색과 자연염료를 사용한 동양화 재료들이 주는 물성을 토대로 자연을 향한 자신의 꿈과 아우라를 실현코자 하였다. 즉 한국적 정서에 어울리는 소재와 색채로 고요하게 정화된 자신의 맑은 기운과 원초적 자연의 소리와 싱그러운 숨결을 조화시켜 참선을 하듯 통일된 화면 속에 구현하고자 한 것이다. 과거 작품들이 자연과 인간의 동화라는 총체성의 꿈을 노래한 것이라면, 최근 작품들은 부조리하고 이질적인 것들이 난무하는 현실의 모습과 자신의 불안한 의식상황을 있는 그대로 관조하려는 태도를 보여주고 있다. 이러한 현실의 부조화와 내적 불안은 자연스럽게 화면의 부조화를 수용하게 되었고, 코드화된 이미지의 도입으로 인해 아우라를 상실하는 희생을 치루는 가운데서도 그녀는 용기 있는 변화를 모색했다.
과거의 방식이 잡념과 부조화 제거하면서 무(無)에 이르는 선(禪)의 방식이라면, 최근의 변모된 양식은 제거하고자 해도 결코 제거할 수 없는 현실의 난제들을 제거하지 않고 오히려 있는 그대로 관조하고자 한다. 그것은 잡념을 제거하는 방식이 아니라 떠오르는 잡념에 감정을 이입하지 않고 그저 멀리서 지켜보는 방식이다. 마치 영화 제작자가 이미지의 단편들을 몽타주하듯이 그녀는 자신의 두뇌에 각인되어 있는 파편적 이미지들에 집착하지 않고 차곡차곡 모아 결합시킨다. 그럼으로써 칸트가 말한 결과로서의 무관심적인 만족이 아니라 현실적 관심과 초월적 무관심의 변증법적 관계를 만들어 낸다.
작품에 등장하는 정선이나 마그리트의 이미지, 그리고 사회적 현실이나 개인을 상징하는 오브제들은 모두 작가의 머릿속을 지배하고 있는 관심의 요소들이다. 이런 코드화된 이미지들을 몽타주처럼 구성함으로써 작가는 관조적 거리와 객관성을 유지하고자 한다. 이때 지켜보는 자가 된 주체는 스스로 에고에서 분리되고, 특정한 집착에서 벗어나 경직된 사고를 자연처럼 흐르게 함으로써 초월적 상태에 이를 수 있게 된다. 그런 점에서 그녀는 여전히 명상적이고 자연의 생리를 따르고 있으며, 마치 장자의 호접몽에서처럼 한 마리 나비가 되어 다양한 동서고금과 현재의 다양한 관심사를 유영한다.

--------------------------------------------------------------------

Gyeomjae Jeongseon(謙齋 鄭敾, 1676-1759), who was dominating the art world with Jingyeong sansuhwa(paintings based on real landscape) in the small country in Asia of Joseon through late 17th to early 18th century. Rene Magritte(1898-1967), who was born in Belgium and stood in the middle of Surrealism movement in 20th century. What if they meet each other and collaborate? It is fun just imagining such encounter. It can never happen in reality, but in the contemporary art world free encounters transcending space and time are possible with no limit.
Jeongseon is a very important artist in Korean art history who saw that the landscape described in Chinese paintings are different from the landscape of Joseon, and created new method of expression to establish identity. On the other hand, Magritte is a master of Surrealism who described the unconscious mystery within the existence as poetic fantasy using depaysement. Jeongja Kim mixed Jeongseon and Magritte who seem to be completely inharmonious-as they are separated due to various dimensions such as the East and the West, character and interest, style and themes- in a piece of artwork.
It is not so unusual that we can see such heterogeneous composition in Kim’s artwork who is working in 21st century Korea. In the tides of globalization, Korea was rapidly globalized due to the spread of internet and other high-tech media to become a society where various cultures are mixed together. To the artist who majored in Korean traditional painting, Jeongseon is a figure of unstoppable admiration and the root of her lineage. On the other hand, realizing artistic freedom in a intellectual way by transforming everyday objects into strange things, Magritte is her mentor guiding her to the contemporary characteristics that she is seeking for. To the artist who has to solve her Korean identity and the matter of contemporaneity, those artists are necessary mentors.
Kim composes her canvas by borrowing parts of the above-mentioned artists’ works and superbly putting them together. Out of nowhere Jeongseon’s calm landscape comes into Magritte’s way of space composition and objects such as pencils, umbrellas, guns, vessels, airplanes, telescopes, bulldozers are randomly added. The scene spread on top of the natural materials such as Korean paper or naturally dyed ramie fabric characteristic to Korean painting look quite peaceful and calm at first sight but holds the hidden message of the artist.

Instrumental critique of reason in the contemporary society
In the landscape that seems to have been eliminated of all reality by weaving the objects from different sources like a piece off text, arms such as guns, vessels and fighting planes are hidden in small size. Considering her notes, they are not only means for depaysement. . “Upon the window with a ray of warm sunshine. A sweet cup of tea and carefree placidity are all so peaceful. Can the peace really be secured? Two sons of mine have returned from military service. The sons in the Cheonan vessel could not. Can they, from Yeonpyeong island? … Peace secured by guns is not peace.
The notes are describing the political situation of Korea where the war has not yet ended and the South and the North are torn by ideologies.  To tell the truth, it is possible to witness scenes where such arms are hidden in places that are so quite and empty when wandering around the rural parts of Korea. Korea is internationally considered to be one of the most dangerous countries where the fear of war is hidden and military incidents such as Cheonanham or Yeongpyeongdo, but Koreans are not showing much interest. The artist critically sees the violent and dangerous games that the political leaders are playing who try to secure peace with armed forces by putting the toy-sized arms that are said to be made for securing peace on top of the calm natural landscape.

Then one has to wonder if objects like bulldozers, cars, spoons and forks mean something. Have a look at her artist’s notes. “From Seoul to the end of Jeju island
Wherever my footstep reaches, deafening roars fill torn up fields. Why does the God only answer to the bulldozers? … I am putting a spoon in the nature, swirling it with chopsticks, flourishing knives around, sticking forks. The desires and selfishness can never be content.”
The artist travels the natural scenes of Korea every weekend and looks at the contemporary reality where all the land is groaning under development in a critical point of view. Korea is a country that successfully and rapidly achieved urbanization and industrialization after the Korean War, but under the achievement lie instrumental reason and anthropocentricism from the western culture. While criticizing selfish desire and greed under the name of enlightenment and  development, Kim tries to reconstruct the traditional Korean sense of beauty that dreams to achieve a harmonious state where man and nature are assimilated.

The dialectic between the interest in the reality and transcending disinterest
Kim is interested in criticizing the contemporary society where she is living in. However, it is not the skeleton of her works. The objects with social criticism are only used as an element for artistic composition by being added in a way that does not harm calm and peaceful state of her works. Sometimes she adds treasured belongings as objects to intervene indirectly. The pencils and umbrellas that are shown in the works from time to time are the objects with such intentions. The marionette-like man seems to be her avatar who transcend between space and time, and the reality and imagination. Therefore her works become a complete set where heterogeneous themes and various interests such as tradition and modernity, individual and society, the East and the West, the reality and the imagination all come together. It is not a visual reality but ‘reality within the brain’ where the dream and ideality, social interest and criticism are mixed together to coexist.
The exquisite link between the art and an individual, the art and the society are a way of ambiguously reconstructing the reality unlike surreal unconsciousness of postmodern deconstruction. If postmodern artists such as David Salle tried to deconstruct the dichotomous border between the fine art and public culture, the work of Jeongja Kim is more constructive than deconstructive. It is a method that is liberated from distinct enlightenment by relating to the various dimensions of individual or society and yet not letting their significance set but flow. The ambiguity is her own artistic strategy to prevent her work from becoming a means of social realism or ideology.
Such style that is presented for the first time in the exhibition is a quite radical and significant change in the artist’s career. Her recent works were trying to realize her dream and aura towards nature based on the materiality of the materials used in Korean painting using natural dyes. That is, she tried to bring together in the unified  canvas using materials and colours that suit Korean sentiment as if she was meditating upon the harmony of her clear and purified Chi, the primeval sound of nature and fresh breath. If her past works were chanting the dream of unification between man and nature, her recent works contemplate her anxious state of mind and the state of reality that are filled with irrational and heterogeneous things. The discordance of reality and inner anxiety naturally accommodated the discordance in canvas, and the artist sought after courageous change while she had to sacrifice by losing aura on the way of introducing coded images in her works.
If her previous method was Zen that eliminates worldly thoughts and incongruity to reach nihility, recently changed method contemplate the tough challenges of reality as they are rather than trying to eliminate them.  It is not a method to remove worldly thoughts but gazing from far away without empathizing. As if a film producer montages clips of images, Kim does not become obsessed with the pieces of images that are branded in her brain and collect them to combine. By doing so, she creates the dialectic relationship between the interest in reality and transcending disinterest-rather than the satisfaction of disinterest as a result that Kant mentioned.
The images shown in the paintings of Jeongseon and Magritte, objects symbolizing social reality or an individual are all elements of interest dominating the artist’s state of mind. The artist tries to remain objectivity and contemplative distance by composing those coded images like a montage. The subject who becomes the viewer is separated from its ego on its will, and lets the concrete thinking flow like nature free from certain obsession and thus leading to the transcending state. In that way Kim is still meditative and follows the nature of the nature, and floats around various interests of all times and places including the contemporary times as if she became a butterfly in the dreams of Chuang-Tzu.

========================

Jung-Ja Kim’s Expanding Universes
Kim’s training may have been in Oriental Painting as ink, brush, paper or silk landscape type work is called in Korea, however her work is conceptually and philosophically directed. Kim’s The Silence beyond Words recalls such a work as Man Ray’s photograph, ca. 1967, of Duchamp’s Dust Breeding, 1920 a work that may look and sound prosaic by its title but which is nevertheless brilliant in concept and beauty. Duchamp allowed dust to collect on his work The Large Glass that naturally produced concavities, hills, layered textures and patterns considered beautiful enough by Man Ray to commemorate photographically. The relationship to Kim’s work is not only in the use of common objects that a simple yet beautiful but also in both artists’ use of natural materials and the environmental/accidental effects on their media. In her mixed media works Kim allows natural staining to take place on Korean rice paper that attains a worn appearance fading midway while darkening at the edges. Moreover, Kim adds a real quill pen pointed at the tromp l’oeuil notebook. Duchamp erased most of the dust in his work but left one whole portion intact actually pasting the dust in permanently.
Like Chaekkori the traditional eight-fold painted screens of her native country, Kim overlays objects painted in a hyper-real style onto a flat surface. However, instead of sitting on the surface as usually do 3- dimensionally created objects in Chaekkori, Kim’s book seen in the foreground of The Silence beyond Words disappears as it recedes into the distance. This absence in the middle ground has its analogy in the word Silence contained within the title of Kim’s work. Moreover, it can be said that Kim is making a comment on a gender issue of importance; whereas books, ink stones, brushes were traditionally used in Chaekkori for decorating men’s quarters(sarangbang), Kim uses the book and ink quill as metaphors for herself. Chosun Dynasty Chaekkori when made for women, contained symbols of fertility and good fortune e.g. peonies, so that, Kim has reversed the symbolism in this work. It is as if she’s stating that women have come to the point in the 21st Century to be symbolized by their intellect rather than their ability to reproduce.
Several of Kim’s works allude to galaxies as does Polishing the Sky, 2013 (63.8x51.2in, Hanji, natural dyes, oriental ink) in which appears a human form upon a golden hill dotted by a red pillow. The first association is with color that is principally yellow or gold and red, a combination whose symbolic meaning is to ward off evil spirits serving as talisman. Kim also plays with solid color on the hill, against transparent as is the human form in its midst and inky sky dotted with white stars. Chosun dynasty Zhe school painting is something Kim would be well versed in consequently, her use of transparency which is ordinarily a very difficult effect to accomplish. The red pillow in the center by its crimson color signifies royalty and is embroidered in gold thread at the edge, a common practice even today in handicrafts. But, Korean legend has it that the Queen of Silla embroidered a pillow with a peace poem to present to the Tang Emperor to commemorate her enthronement. Thus all together perhaps the painting can be understood in terms of humanity seeking answers in the spiritual realm having left behind all the wealth and important position of its materialist past.
Subconscious Acting, 2007 (63.8x51.2in, Hanji, natural dyes, gold powder) painted six years before Polishing the Sky nevertheless relates to it coloristically and thematically. The 2013 work can be seen as continuation or return to the cosmic subject found earlier in the work. In Subconscious Acting, there are two human forms, a turquoise one placed higher than the transparent one below that overlaps it. Their arms up stretched as if in supplication, their size is not so patterned ground, the figures stand, and above them in the sky appear huge dotted spirals. Their entreaty evident, they are embracing the universe while their coloristic aura is reflected in the spirals above. The spiral has its own symbolism hearkening back to megalithic art and has been found in desserts, but also on roof tiles of the Tang Dynasty in Chang’an signifying the sun. Hence, the whorls of Kim should be seen as cosmic fingerprints of the galaxy.
Written By:
Dr. ThaliaVrachopoulos,


========================

FOR  IMMEDIATE  RELEASE:
Elga Wimmer PCC, proudly presentsJungja Kim: Expanding Universes an exhibition curated by Suechung Koh, that will run from August 19 – Septenber 3rd, 2013 with an opening reception on Thursday August 22nd, from 6-8 PM.


There Is No End to Hope, 32.7″x38.2″, 2013, Paper, natural dyeing, LED on metal panel

Kim’s training may have been in Oriental Painting as ink, brush, paper or silk landscape type work is called in Korea, however her work is conceptually and philosophically directed. Kim’s work is a simple yet beautiful but also use of natural materials and the environmental/accidental effects on her media. In her mixed media works Kim allows natural staining to take place on Korean rice paper that attains a worn appearance fading midway while darkening at the edges. Moreover, Kim adds a real quill pen pointed at the tromp l’oeuil notebook.
Several of Kim’s works allude to galaxies as does Clear the Sky, 2013 (63.8x51.2cm, Hanji, natural dyes, oriental ink) in which appears a human form upon a golden hill dotted by a red pillow. The first association is with color that is principally yellow or gold and red, a combination whose symbolic meaning is to ward off evil spirits serving as talisman. Kim also plays with solid color on the hill, against transparent as is the human form in its midst and inky sky dotted with white stars. Chosun dynasty Zhe school painting is something Kim would be well versed in consequently, her use of transparency which is ordinarily a very difficult effect to accomplish. The red pillow in the center by its crimson color signifies royalty and is embroidered in gold thread at the edge, a common practice even today in handicrafts. But, Korean legend has it that the Queen of Silla embroidered a pillow with a peace poem to present to the Tang Emperor to commemorate her enthronement. Thus all together perhaps the painting can be understood in terms of humanity seeking answers in the spiritual realm having left behind all the wealth and important position of its materialist past.

Korea-born Jungja Kim studied at Chosun University and she received many awards such as the top prize in 2005 from the “24th Korea Grand Art Exhibition”. As a conceptual artist she has had many group and solo exhibitions but this is her first solo exhibition in New York.

For More Information:
Elga Wimmer PCC, 526 West 26 Street, Suite 310, NYC. elga@elgawimmer.com, 212-691-7978
And Curator Suechung Koh at Pariskoh@gmail.com, 201.724.7077
===================



 

======================
   작가노트
        
자연

  나는 나의 직관적인 세계를 보다 논리적이고 사유적인 표현으로 화폭에 담아내려 하였다.  언어적 표현 양식을 빌어 나의 자연관, 즉 인간의 가장 내면에 자리하고 있는 귀소본능, 어머니의 품과 같은 자연을 향한 인간의 무한한 그리움을 군더더기 없이 담백한 화면구성과 절제된 선을 통하여 조용하면서도 생명력 있도록 표현하고자 노력하였다.
        우리 동양화의 아름다움을 살려  쉼쉬는 여백을 중요시하고, 그 공간에 넉넉함을  주는 먹의 농담을 사용하여 굳이 구상이나 비구상 이라는 경계에 얽메이지 않는 자유로운 표현 방식을 통하여, 자연 그대로의 따뜻함과 편안함 그리고 정감있는 이미지를 추구하였다. 이름없는 들판의 풀 한포기, 꽃 한 송이에도 의미를 부여하듯이  나의 자연에 대한 사랑을 그윽하고 단아하 모습들로 화폭에 옮겼다.
작품 “들판에 서서 (풀꽃)”, “내 마음에 물들이고 (봉숭아)”, “가을빛을 담고(국화), “대숲에 이는 바람(대나무)” 등 시간과 운명에 순응하는 자연의 단아한 모습을  통하여, 인간으로써 또한 시간과 운명에 결코 역행 할 수  없는 자연의 본질을 표현하고자 고심하였다. 최대한 자연스러운 색과 질감을 살리기 위하여 천연의 쪽빛하늘과 연한 우리황토색 어울림, 그리고 한국인의 정서와 가장 어우러지는 나무와 열매 그리고 꽃에서  소재와 색을 가져와 사용하여 자연이 주는 고요하고 잔잔한 지극히 정화된 맑은 정신과 열정을 가지고 참선을 하듯 나의 작품을 보는 사람들에게 나의 정신과 에너지를  함께 나누는 것이 간절한 바램이다.


Art  statement

The longing for nature is basic to all human life. While we control and change it through our technological prowess the underlying enjoyment and love of the natural drives us towards this longing and to nature and the peaceful moments. The quiet calm of contemplation in my work relies on a dialectic intuition combined with a logic that is meant to bring the viewer closer to this longing and to a reconnection with nature.
        
Each work combines those moments that are often overlooked–such as a tiny frog on a lotus pad, some leafy reeds on the earth or seedpods floating in barely moving air–with the delicacy of fine, handmade paper, the resilience and structure of linen and deep moodiness of dark inks to create a world that is abstracted from the real and presented to the viewer in the saturated color and familiar forms often found in traditional Asian painting practices. But there is nothing ordinary or traditional about the work. The deep black ink and lacy or transparent papers are layered to create contemporary spaces where the dialog between our current age of technology and our distant pastoral past can exist together. It is in this fine balance of time, memory and image that allow the comfort and warmth of the work to address our human feelings that are contemplative and inquisitive. It is a constant search for a connection to the deep feelings that we have for our natural world and joy of quiet moments of meditative wonder we are capable of that drives my work.

Using shaped color in large flat areas, simplified and combined with equally significant areas of collaged paper reading as realistic shapes, I  counter-balance the composition with small touches of life and poignancy. My work evolves from the study of botanical references such as bamboo leaves and branches, lotus leaves and flowers, orchids, seed pods, frogs and fishes. I choose objects that can reach across time and space to create a “moral culture” thus,  allowing form and color to be free meditative observations shared with fellow humans in an ever increasingly difficult world.

Write


Copyright ⓒ artkimjungja.com All rights reserved.
Seocho 3Dong, Seocho-Gu, Seoul, KOREA