Kim Yonk-Ik

This post describes 2 pieces of work by artist Kim Yong-Ik that I recently saw at Spike Island in Bristol. They are called, 'Untitled (second version 2017, after lost original of 1986)' & 'Untitled (second version 2017, after lost original of 1989)' & form part of the exhibition, "I believe My Works Are Still Valid".

In the 80’s when this work was (originally) created, South Korea was in Government turmoil. Modern thinkers/artists were grouped as Socialist/Populists or Modernist. Kim aligned with neither. These works are the cross over from Painting to Sculpture in Kim’s practice. Folded two dimensional forms become architectural while retaining a canvas quality. They make comment on the surrounding space & in this case are provocatively placed to create a dialogue with each other. This relationship hints at the power of a space/architecture. Red on White suggests Power, Politics, Socialist/Communist. Folded elements show the other side of something & removed sections incline towards the change or separation of a whole. All potentially commenting on the social political thinking of the time. 

The two works take three forms & are a simple pallet of Acrylic on MDF. Exposing slight changes in the material allow for a reading of the process through the slight manipulations. The works read from right to left with complete rectangular sections, folded forms & on the far left extruded sections. By choosing a bold Red paint there is an immediate contrast to the brown MDF & the white of the gallery walls. This gives a reading of the material with no illusion to the simplicity of the choice. There is an honesty to the material where simple choices make strong statements about materials & their capability. With all of the elements no pieces are missing, they are just re arranged. In addition the titles of these work add the question, What happened to the originals?

What elements can I reflect on in Kim's work that will inform my own practice?

Firstly the simplicity to this work interests me because basic formal elements come forward as the former language in how to read this work. A basic pallet of material allows the artist to push them to the limit of what they can do visually. This is a welcome challenge in my own work. Also there is a integrated consideration of the use of the space in the works. Here there is a purposeful viewpoint in the gallery where these are the only works the audience can see. It would also seem that the central work was specially made for a space such as this. The folds in the MDF speak directly to the floor & the pillar at the edge of the wall. At this point in the gallery these are the only works to consider as the viewer looks, a bright red visual language seated in the context of the other works in the space.