You cannot help but be taken aback by the recent works of KIM Myoung Nam. Your eyes can barely recognize the holes and torn up paper with scratches across the canvas. KIM reveals light through this act, and the brilliance of whiteness vies with the purity of the image. Here, we are reminded of Lucio Fontana, especially the works of Yves Klein. KIM’s works the confront our eyes cover similar issues as Yves Klein’s ‘The Void’(1958) or ‘Leap into the Void’(1960). KIM’s works can be reviewed in the light of Klein’s quotatopm of Bachelard in Antwerpen, Belgium, 1957:<<First we see nothing; then there is depth in this nothingness, after which there is a pure white cubic effect.>>

KIM Myoung Nam’s works, which denote an immaculate purity and praise for blankness, appeal entirely to the economic feasibility of radicalite tools. What she displays with an awl is neither paper nor canvas, but the act of the artist herself as well as traces of tools that are used. It is as if the a silica stone from long ago still lives today, telling us great things about historical beings. Kim’s art is demanded by the concept of passage. She Presents unique aesthetic terms using pieces of paper, which ironically strengthen the field of formative art that is a new perspective on the concept of limitations. Everything here is a matter of degree, everything plays between the two, and everything keeps a perfect balance: between order and chaos, between coincidence and control, and between opaqueness and opalescence.

Beyond multiple protocols used in the overall examination and process of production and materials, Kim’s works of white consist of amusement created by tacit records like lines and punctuation marks, generated by the protrusion paper the describes the landscape by forming the sides of the image, finding the rhythm, and keeping the beat. This is an immaculately pure and peaceful spiritual landscape that blocks the visual verbiage of our times, leading us to extraordinary meditation toward an indescribable place of isolation. As a poet once sang, that place is <<filed with order, beauty, luxury, peace and sensuality.>>

 

Philippe Piguet, art critic and director of drawing Now