Minyoung Kim is intrigued by Phenomenology, the philosophical study of the structures of experience and consciousness. Rather than approaching Phenomenology from a scientific advantage, or in the form of written commentary, Kim is inclined to pick up a paintbrush and paint – creating mirrors to some of her inner-most feelings.
From works past to present, each contains poignant memories and expressions of anxiety, regret, desire and dreams. The very things she is not able to articulate directly through language. Kim says that ‘semantics fails to truly express these things. Unstretched canvases convey a sense of freedom – with linens unbounded and thus, physically unrestrained from wooden frames and the historical art reference of traditional canvas painting. There is a specific method that Kim uses to create imagery, with finished compositions looking blurry – nodding to an emotive recall of sensations. These dream-like images, evanescent at times, suggest that if one was to reach out a grasp them, they would simply slip away. Fading reminiscences gesture to Kim’s own dreams – with imagery that is strangely familiar and also a source of true inspiration for the artist. These fable-like narratives are characterized by danger, and also mystery lurking on the horizon.