From East to West: A Spiritual Garden during Haverford’s Gallery – Bi

September 23, 2014 - garden totes

Lily Lopate, Editor in Chief 

Hee Sook Kim, Transformation 8 Photo curtsey of  Lisa Boughter.

Hee Sook Kim, “Transformation 8″ Photo curtsey of Lisa Boughter.

Ever consider about a textures that issue from conflicting a universe that we unexpected see silkscreened to your board receptacle bag? Haverford’s Cantor Fitzgerald Gallery entertains that doubt in a initial tumble exhibition, A Spiritual Garden, featuring a solo work of Haverford’s Fine Arts Professor Hee Sook Kim.

The uncover is curated by Sunny Sunhwa Shin, executive of Coohaus Art, with serve catalog contributions by Jonathan Goodman. The artist, Hee Sook, Kim grew adult in Korea and has spent over a decade in a suburbs of Philadelphia. She is a product of interlaced cultures. Autobiographical and anthropological, Kim sifts by personal memories to send how normal objects, like a “Beosun” (Korean sock), are re-envisioned in light of contemporary American culture.

Curator Sunhwa Shin organised Kim’s work so that it fills a space in a kaleidoscope of color. As we change your eye from one acrylic stipple to a next, patterns, shapes and textures advise a alloy of Kim’s years in Korea and Pennsylvania.

A Spiritual Garden is a jubilee of a 4 seasons. Shin describes how Kim “uses several materials in a many strata of her work” to elicit “her innumerable life experiences.” Almost all of these works were finished in a final year, so we see a neons of summer combine into a darker purples of autumn to continue a cycle.

Many of a works underline graphics of birds and flowers, lending any fabric, board or stipple imitation a prodigy of movement. Kim’s concentration is on a transitory duration between seasons where “we comprehend what we had after we mislaid it” (Shin). One wall facilities a array entitled “Paradise Between” where Kim engraves a western striking technique onto handmade Korean paper. The Korean paper has an earthlike peculiarity while a graphics are full of red polka dots and fleur-de-lys stencils. This layered outcome reiterates Kim’s bent to overlie images and slake a senses.

In one bliss work she reverses a same picture of flowers and swinging cherry blossoms on conflicting sides of a page. One side of a picture is light and usually etched in brownish-red while a bottom, filled in with a western sensibility, has stamps of orange. The altogether outcome reads like a doubling of a artist herself – on one partial of a page there is a minimalist watercolor painter and on a other, a striking artist who is perplexed by silken textures.  Another wall is her “Transformation” array – a set of lithographs on timber panels and acrylic oil on canvas. Almost a redefinition of wallpaper, these aesthetically appealing prints showcase Kim’s signature: a redefinition of healthy shapes with rhinestones.

  Hee Sook Kim, “Beosun Korean Traditional Socks 1-40″ Photo Curtesy of Lisa Boughter.

“Metaphor lies during a base of [Kim’s] innovation; a controversial play between picture and eye” (Shin) is voiced subtly with a span of black edging gloves trustworthy to a wooden panel. Is it a symbol of womanhood? A pointer of American materialism? A contrariety to Korean purity? The overlie of images leaves a spectator wondering.

A wall of forty “Beosun” (Korean normal socks) is maybe a many important partial of a exhibition. Each sock is a plain tone with a singular stipple of a bird or butterfly. Beoson hosiery are typically white though Kim invigorates a Beosun with a western palette – a pointer that Kim is out to repurpose normal images. The balance of this wall draws a viewer’s eye in and we see Kim’s embellishment done literal: an American Tree Sparrow, local to Pennsylvania, lands itself on this fuchsia sock to furnish a hallmark of Asian American art.

Show runs: Sep 5th – Oct 10th

The Spiritual Garden is done probable with support from a John B. Hurford ’60 Center for a Arts and Humanities and a Department of Fine Arts during Haverford College.

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