Urban Palimpsest 24-01-41
2024
84”x56"
Acrylic on canvas (Stephanie Kim Gallery show window)
[The Urban Palimpsest 24-01-41 piece was exhibited at the Stephanie Kim Gallery, located in Tribeca, New York. Displayed in the gallery's street-facing window, it marked the first time my work was exposed to the general public on the streets of New York, reaching a diverse and undefined audience of New Yorkers.
Through this experience, I gained a deeper understanding of how my work resonates with a broader audience outside traditional gallery settings. It allowed me to explore the dynamic interaction between my art and the urban environment, reinforcing the themes of chaos and layered narratives present in my work.]
1) Could you introduce yourself? Where are you from, and where did you study art? When did you first see yourself as an artist?
My name is Hongbin Kim, an artist currently based in New York. I am originally from Seoul, South Korea. I completed my undergraduate and master’s degrees in Fine Arts at Hongik University in Seoul, and later, I pursued my MFA at the School of Visual Arts (SVA) in New York City.
Since childhood, I have always enjoyed and excelled in art, which naturally led me to pursue an art degree. However, I never truly considered myself an artist. During my time at Hongik University, I began to take responsibility for my work, and it was after moving to New York and immersing myself in its vibrant art scene that I genuinely embraced the identity of an artist. The challenges and opportunities of navigating a new environment allowed me to further develop my creative voice and deepen my artistic practice.
2) Could you talk about your series titled, "Transcendence of Value?" What is the significance of embedding a dollar bill within the work itself and making it partially visible?
My series, "Transcendence of Value," explores the essence of painting and the concept of material value by embedding torn acrylic paint and actual dollar bills within framed boxes.
Living in New York and directly experiencing various business sectors, I began to deeply contemplate the relationships between consumption, waste, material value, and the intrinsic value of art. During this process, I realized that the English word material is used to describe both physical matter and artistic mediums. This discovery inspired me to merge these two concepts within my work.
The dollar bills used in the artwork paradoxically represent the intrinsic value of art. Each bill is fully intact and preserved, meaning that if the artwork were to be destroyed, the currency could still be recovered and returned to its original monetary function. This ensures that collectors maintain a minimum tangible value when acquiring the piece. However, my intention is for these bills to transcend their economic function and instead be seen as pure artistic materials, much like the colors used in painting.
In particular, the white pieces in this series embody my hope that art can transcend value even in the absence of color, representing a purity of form and meaning.
Through this series, I aim to invite viewers to reflect on how art interacts with society, extends beyond mere economic value, and can exist in sustainable and meaningful ways.
Urban Palimpsest 24-01-72
2024
64”x60"
Acrylic on canvas
[The Urban Palimpsest series draws inspiration from the concept of a palimpsest—an ancient document where text has been erased and rewritten, leaving multiple layers of meaning. To me, the chaos of New York felt like a dense jungle, a sensation reflected in the layers of posters repeatedly placed and removed from the city’s walls. I reimagined these layered posters through torn acrylic paint and collage techniques, creating works that visualize the dynamic, multifaceted essence of the urban environment.]
3) A follow-up question regarding the Transcendence of Value series: would you consider putting a valuable consumer item within the work, like Jeff Koons with his Dyson vacuum cleaner, if money and products are transferable from one to the other?
I have certainly considered incorporating valuable consumer items into my work beyond money, as this has always been one of the creative challenges I’ve been contemplating. It aligns with my ongoing exploration of the relationship between material value and artistic expression.
One of the projects I am currently experimenting with involves wrapping disposable or easily discarded items, such as those from IKEA, in acrylic paint. Using acrylic paint peeled from film as if it were tape, I encase the objects in layers of color, transforming their transient and utilitarian nature into something more enduring and thought-provoking.
This approach also reflects the nomadic nature of contemporary life in a globalized world. Unlike indigenous communities who were deeply rooted in a single place, many of us today live transient lives, frequently moving, adapting, and redefining our relationships with places and objects. By repurposing disposable goods and transforming their context, I aim to highlight this shift in how we perceive permanence and value in a constantly changing world.
4) Last question regarding the Transcendence of Value series: why do you frame the work in the Transcendence of Value series with a white frame and plexiglass? Is the act of framing equivalent to putting an abstract boundary between the real world and the abstract world of aesthetics that art objects embody?
In the "Transcendence of Value" series, the colored versions use the color of the background and frame surrounding the money to symbolize the relationship between material value and the intrinsic value of art. This relationship is marked by duality—while the two may contrast and create a perceived boundary, they also resonate naturally within society, embodying an inherent ambiguity.
On the other hand, the white versions of the series reflect my hope for transcendence. By eliminating color, these works aim to shed all ambiguity and aspire to represent a value that goes beyond societal constructs and material perceptions, embodying purity and universality.
The act of framing serves as an abstract boundary, emphasizing the divide between the real world and the conceptual realm of aesthetics. At the same time, it invites viewers to consider how these dimensions interact and influence one another, encouraging a deeper reflection on the layered dynamics between art, value, and society.
Transcendence of Value.
2024
A series of works, each measuring 10”x10"
Torn acrylic paint and real dollar bills enclosed in a frame box
[Transcendence of Value combines torn acrylic paint and real dollar bills enclosed in a frame box to explore the essence of painting.
Through firsthand experiences of various global businesses in New York, I have reflected on the relationship between consumption, waste, the material value of objects, and the intrinsic value of art.
During this contemplation, I realized that the word "material" in English refers to both "substance" and "resources," and I sought to merge these two meanings within my work.
The money used in this piece paradoxically represents the intrinsic value of art. Each dollar bill remains intact, and if the artwork were to be dismantled, the money could be reclaimed and spent as currency. Therefore, the buyer of this piece retains the baseline monetary value of the dollars used. However, my intention is for the money in the work to be seen as pure material—like the colors in a painting—rather than as currency.
The white artwork embodies my hope that, even without color, it can transcend material value and hold significance beyond its physicality.
Through this series, I aim to encourage viewers to reflect on how art interacts with society and how it can exist in a sustainable manner, surpassing mere economic value.]
5) Could you explain a bit about the "Cocoon" series? If each layer of paint relates to a layer of identity of the present or from the past, why do they all have smooth texture and even application of bright colors?
The "Nameless Cocoon" series explores the layers of identity, both from the present and the past, and how they intertwine to shape who we are. Each layer of paint represents a fragment of these identities—memories, experiences, and emotions—that build upon one another, much like the protective layers of a cocoon.
The smooth texture of the surface was a deliberate choice to focus the viewer's attention on the vibrant colors and the act of peeling, rather than the texture itself. By eliminating any visible matière or surface irregularities, I sought to create a clean, polished finish that enhances the clarity of the colors and the conceptual act of revealing.
This smoothness also reflects the way we often present our identities outwardly—polished and harmonious—while concealing the complexities and conflicts beneath. The vibrant colors, in contrast, symbolize optimism, transformation, and the energy of growth. Together, these elements aim to highlight the interplay between concealment and revelation, celebrating the transformative journey of layered identities as they evolve over time.
6) A follow-up question: some philosophers, such as Nietszche, have made the analogy of identity formation as the inscription of events on the body. Is your metaphor of representing the multiple layers of identity based on the color choice of the layers only ( if different identities or states of being can be described as unique colors)? Why do you remove the variation of form and texture to the surfaces that may represent the various identities, and focus only on color?
This is an incredibly insightful question, especially in how it relates to Nietzsche’s perspective on identity as an inscription on the body. Just as short but significant life experiences accumulate to shape the self, my approach to expressing identity through multiple thin layers of acrylic focuses on the interaction of colors. Color serves as an immediate and universal language, capable of evoking emotional and psychological states.
In my work, colors symbolize the complexity and fluidity of identity through their diversity and blending, free from the distractions of texture or form. The exclusion of texture and form simplifies the visual language, creating a sense of unity and cohesion, allowing the focus to remain on the interplay of colors and their deeper meanings.
Nameless Cocoon
2024
A series of works, each measuring 36”x36"
Acrylic on canvas
[The Nameless Cocoon series features torn acrylic works that symbolize my experience navigating the "jungle" of New York. This series reflects the influences of my life in the city while exploring the transitional phase I find myself in after nearly two years here. Like a cocoon bridging the stage between pupa and adult insect, my current journey represents a state of transformation and uncertainty. Cocoons remain nameless until they become fully developed, and similarly, I am in a phase where I must evolve and move forward, even though I do not yet know what kind of "butterfly" I will become. This work captures the tension and potential of this transitional moment.
The Last MAYFLY series represents the evolution of my identity since leaving Korea and settling in New York. To reflect this transformation, I added "Last" to the title of the series I previously worked on in Korea, MAYFLY.
In Korea, I felt like a fish swimming freely in a river, but in the vast ocean of America, I now feel like a fish compressed or overwhelmed in the depths. This sense of being unsettled, amplified by frequent moves and the uncertainty of establishing roots, is symbolized through tape imagery in the work.
However, this series also embodies hope and resilience. It represents my desire to emerge from the depths of this ocean, overcome challenges, and gradually learn and grow within the vast opportunities that lie before me. Each piece reflects my journey of adaptation and my determination to embrace and thrive in this new environment.]
7) What attracts you to bright, pure colors mostly straight out of the tube? How do you control and tame these kinds of vivid colors?
The reason I emphasize color in my work is that I see it as an immediate and universal language capable of evoking emotional and psychological responses. It also serves as a way to express the diversity and blend of experiences I encounter while living in New York through the use of varied hues.
However, the primary reason is more personal—I am inherently drawn to color. When I observe an image, it’s the colors that impact me first and most strongly. This sensitivity extends to everything I experience, whether it's viewing others' artwork or engaging with my environment.
For instance, as I navigate through New York, I notice the vibrant, artificial colors around me, such as neon safety signs at construction sites, graffiti, posters, metro signs, and even the people. To me, these colors feel like urban flowers blooming in the concrete jungle. These constant bursts of color stimulate me, energize me, and remind me that I am alive.
Expressing these feelings through bright, vivid colors comes naturally to me. It’s a way of translating my experience of the world into my art and sharing that sense of vitality and connection.
To control and tame these vivid colors, I focus on layering, blending, and strategic placement. I also pay close attention to color contrasts to ensure the vivid hues harmonize within the broader narrative of the work.
Synesthetic Reverie
2024
A series of works, each measuring 10”x10"
Acrylic on paper in a frame
[The Synesthetic Reverie series features vibrant colors at its center, symbolizing the diverse individuals living in New York. Each hue represents the dreams and aspirations of these people. The sky serves as the backdrop, representing the global landscape and reflecting my perception that whatever one pursues in New York ultimately connects to the global market. This interplay of color and background captures the city's dynamic energy and its role as a hub of opportunity and ambition.]
8) Could you talk about the "Mayfly" series? What is the meaning of the title of this body of work? Does it relate to the concept of "YOLO," which means "You Only Live Once?" Or are you saying that our identity is like a mayfly that reincarnates again and again because we accumulate short-lived experiences and memories?
The "Mayfly" series draws inspiration from the ephemeral nature of mayflies, whose brief life spans serve as a metaphor for the transient and fleeting moments that shape our existence. The title encapsulates both the fragility and beauty of these fleeting experiences, highlighting how they leave lasting impressions despite their short-lived nature.
While there is some resonance with the concept of "YOLO" ("You Only Live Once"), the series extends beyond that notion. It delves into how our identities are shaped by an accumulation of these transient moments, like the mayfly’s brief existence contributing to the ecosystem. The works suggest a cyclical process of renewal and transformation, where short-lived experiences and memories continuously reincarnate within us, forming an evolving tapestry of who we are.
9) How can your works in the Mayfly series serve as "a portrayal of accumulated experiences," if simplicity is a key aesthetical ingredient in your work, and they seem to be spontaneous creations that do without labor-intensive layering of the image?
To address this question, let me use my work Nameless Cocoon as an example. While the final outcome appears simple, showcasing color and the act of peeling, the creation process is far from straightforward. To achieve the distinct layers required for the peeling process, I meticulously build paint layers on film, ensuring they reach a specific thickness. This involves painting and drying each color layer over ten times to achieve the depth and purity of the hues I desire. Only then does the work attain the physical and visual quality I aim for. Completing a single Nameless Cocoon piece takes a minimum of three weeks, as the process requires repeated cycles of layering and drying.
Beyond Nameless Cocoon, this method applies to all my works. I do not work directly on canvas but instead on surfaces like film or glass. This approach necessitates the accumulation of countless layers, making layering an essential part of my artistic practice. The simplicity of the finished piece belies the complexity and time-intensive labor required to create it, embodying both the process of accumulation and the aesthetic of simplicity.
10) Why do you choose abstraction, or, rather, non-objective art, as the main vehicle or style for exploring your ideas? What attracts you to this style over figuration and narrative-based or allegorical painting, for example?
My choice of abstraction or non-objective art as the primary style for exploring my ideas is closely tied to my earlier explanation about my attraction to bright, pure colors. I have often found myself deeply captivated by color itself, more so than any other visual element, and I wanted to create works that express color in its purest and most direct form. This naturally led me to abstraction, allowing me to focus on color, form, and process without the constraints of figuration or narrative. The abstract nature of my work is not a deliberate choice but rather the organic evolution of my artistic process.
That said, I do not view abstraction as the ultimate or exclusive solution for my work. I dream of exploring a broader range of artistic styles and mediums in the future, including figurative, narrative, and allegorical approaches, as well as sculptural and video works. My goal is to continuously expand the ways in which I convey ideas, emotions, and experiences through art.
11) Who are your favorite artists?
My favorite artist is Gerhard Richter. I have admired his work since before entering university, and his mastery and versatility continue to inspire me. Among Korean artists, my favorite is Do Ho Suh. I vividly remember the sense of shock and awe I felt when I first saw his work at the Leeum Museum of Art during my early university days. That experience left an indelible mark on me.
Since moving to New York, the artist who has impressed me the most is Sarah Sze. I believe she is one of the few artists who has truly mastered the challenging space of the Guggenheim Museum. Her ability to convey meaning is powerful and remarkably persuasive. Her works, often exploring the intersection of time, space, and memory, demonstrate a level of refinement and complexity that deeply resonates with me.
As someone currently exploring collage in my own practice, I find her collage works to be unparalleled in their sophistication. Moreover, her versatility—from installations to video works—is something I deeply admire. Aspiring to work across diverse media and methods of expression, I draw immense inspiration from every aspect of her practice, from her artistic approach to the execution of her ideas.
Urban Palimpsest 24-01-41
2024
84”x56"
Acrylic on canvas
[The Urban Palimpsest 24-01-41 piece was exhibited at the Stephanie Kim Gallery, located in Tribeca, New York. Displayed in the gallery's street-facing window, it marked the first time my work was exposed to the general public on the streets of New York, reaching a diverse and undefined audience of New Yorkers.
Through this experience, I gained a deeper understanding of how my work resonates with a broader audience outside traditional gallery settings. It allowed me to explore the dynamic interaction between my art and the urban environment, reinforcing the themes of chaos and layered narratives present in my work.]
12) What are your dreams as an artist? Where do you see yourself in the next 5 years?
Currently, I am working on incorporating sculptural elements into my practice alongside my painting. In the next five years, I hope that these sculptural works will become an integral and polished part of my artistic identity. Furthermore, I aspire to expand beyond sculpture to explore other mediums such as installation and video, becoming a versatile artist with a high level of refinement across various forms of expression.
Since moving to New York, both my work and my approach to creating have undergone significant changes. Much of my recent work reflects the influence that New York has had on me. Moving forward, I want to reverse this dynamic—I hope to become an artist who not only draws inspiration from my surroundings but also impacts New York, the world, and my audience through my art.
Nameless Cocoon
2024
A series of works, each measuring 36”x36"
Acrylic on canvas
[The Nameless Cocoon series features torn acrylic works that symbolize my experience navigating the "jungle" of New York. This series reflects the influences of my life in the city while exploring the transitional phase I find myself in after nearly two years here. Like a cocoon bridging the stage between pupa and adult insect, my current journey represents a state of transformation and uncertainty. Cocoons remain nameless until they become fully developed, and similarly, I am in a phase where I must evolve and move forward, even though I do not yet know what kind of "butterfly" I will become. This work captures the tension and potential of this transitional moment.
The Last MAYFLY series represents the evolution of my identity since leaving Korea and settling in New York. To reflect this transformation, I added "Last" to the title of the series I previously worked on in Korea, MAYFLY.
In Korea, I felt like a fish swimming freely in a river, but in the vast ocean of America, I now feel like a fish compressed or overwhelmed in the depths. This sense of being unsettled, amplified by frequent moves and the uncertainty of establishing roots, is symbolized through tape imagery in the work.
However, this series also embodies hope and resilience. It represents my desire to emerge from the depths of this ocean, overcome challenges, and gradually learn and grow within the vast opportunities that lie before me. Each piece reflects my journey of adaptation and my determination to embrace and thrive in this new environment.]
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