Galerie Richard, New York / Paris
Today’s digital world mixed with the real world is rapidly changing people’s lives through the simple code of 0’s and 1’s. This phenomenon is triggered by the smart devices in our hands and the computer systems that surround our everyday life. However, people like me, born in between the analog and digital generations, are looking at something that has been erased between the digital signal of 0’s and 1’s. Those somethings are similar to the mathematical infinity that exists between the two digital codes, or the linear sonic signal that exists in the micro-valleys of a vinyl record; for those who remember them.
Emanating from my current paintings (screens) are recognitions of stripes from a Brown bulb, white noise from digital screens like waves on a calm lake, or wind trembles from instrument strings. I see my new paintings as lying in one of the cracks located in between the digital and analog worlds. I believe my paintings are generating an electronic-like abstract painting language that is touching or pushing (interference) on some part of the delicate boundaries of our shifting digital/reality lives.
The paintings combine a traditional Korean painting technique called Hyukpil, which uses a leather ink brush with contemporary Western post-abstract digital painting language. The stripes are made mostly by one continuous brushstroke across the canvas with the oil colors melting together and flowing like ink. By having just one layer of paint, I keep the trace of my trembling brushstrokes while having the glossy, shallow depth of a screen. If I try to add more layers on top of that, it can easily erase or ruin the delicate parts of the brush traces. The spectrum of garish neon to muddy colors covering the canvas reflect our color-saturated world.
— Kim Young-Hun, 2019