Reproduction Stage . Acryl, Oil Painting on Canvas . 181 x 223 cm . 2010

A Man of Construction, Who Is Deconstructing and Constructing

Where and how does the momentum come, which enables the work to exist? The momentum can be the origin of pure imagination, the result of acute recognition of reality, the search for repressed desire and consciousness, or sympathy of mass culture and ordinariness. It can come from a private experience, while the ideal such as ideology or good cause can be its motive.



My Floating CityⅡ .   Acryl, Oil Painting on Canvas . 194 x 130.3 cm 2009

In case of Kim Hyo Sook, the momentum looks to begin from a private experience. When the artist was a child, their family moved frequently. The frequent movement prevented the artist from making friends, which might make her internalize reflective disposition of conversing with herself. Besides, the movement gave the artist deep impression on the construction site. There is no space for the construction site in the recognition of ordinary people who come and go between house and house, between building and building, and between city and city.



My Floating CityⅡ . Acryl, Oil Painting on Canvas . 227 x 281 cm 2010

The characteristic of the artist's work can be seen in that such shortage of space builds a nest in the artist's consciousness. The construction site is not a final point or the place where the complete form casts anchor, but it is the process and the place that the transition period shoots. The place where an old house is broken down and a new house is built, the place where the past and the present are crossed, the place where a new perspective pushes an old perspective out implies an unstable or arbitrary place which outshines the concept of the place. Seen from a far viewpoint, it is like a toy or a play ground, while seen from a near viewpoint, it's like a mini-version of the world where people live.



My Floating CityⅡ .   Acryl, Oil Painting on Canvas . 223 x 181 cm 2010

The artist sees the world in the transitional place and in the insecure place. The mere construction site becomes to get the metaphor of life or a symbol by the artist's imagination as a medium. That is, to the artist, life is a transitional place and insecure place like a construction site. It is not a place where a decisive form can cast anchor. The prospect of the world is fragmented like a messy construction site, and the prospect of her recognition is also fragmented. The center which can make people see the world in the unified prospect does not exist any longer. There are only fragmented pieces floating in the state of non-gravitation (unrealistic reality), and likewise, there are only bits of fragmented recognition. Floating as such, the pieces of the world and the bits of recognition meet by slightly brushing each other only for a short time.

- Kho, Chung-Hwan