Yool Kim

Purple Ladies

2024

"I paint the inside and outside of myself that surrounds me. I want to express everything I feel in life, such as my thoughts that are not organized, my image I want, me in relations...

"I paint the inside and outside of myself that surrounds me. I want to express everything I feel in life, such as my thoughts that are not organized, my image I want, me in relations...

I paint the inside and outside of myself that surrounds me. I want to express everything I feel in life, such as my thoughts that are not organized, my image I want, me in relationsh...

“I begin this short essay with my artists’ statement from 1997 because it illustrates my focus on emotion instead of on subject matter starting early on. I approached the idea of writing about what I paint back then with dread and tried to bypass it by being as honest as possible about my process. I’d like to think that I paint anything I want because through paint I can express how I feel. I started training to be an artist in early childhood. I studied texture. I learned about composition. I played with color and observed the beauty of line. My methods were unconventional and invented by me. Many different things inspired me: Cheerios in milk, clouds, hands in food, dry dusty dirt, wet mud puddles, coloring books, fashion photos in the newspaper and my keen need to observe my surroundings. When asked what I wanted to be when I grew up I had no answer. I just wanted to watch, and to observe the world around me. I’ve worked for years on a response to that complicated question “what is the work about?” I’ve developed all kinds of stories that seem to make sense at the time, but I have to ask, “isn’t this the same question as ‘what do you want to be when you grow up?”’ I am drawn to the figure, and to capturing physical expression in all types of situations, but especially when we are on our own. The body carries emotion, and most people are unaware that they reveal something of themselves when observed in private moments. When I was young I realized that I could easily understand the unspoken just by watching. It felt like a strange and isolating gift – and sometimes a curse – and I often felt confused and acted out in anger when the words didn’t match what I saw. But I still recognize all kinds of emotion there, and whether what I see is true or not, I relish the vulnerability of the moment. Color is another important tool for me. It’s a self-taught endeavor and one that I explore daily. Color mixing is similar to building flavors in a soup. A soup with just salt is watery and uninteresting. As in cooking, I pay close attention from the first layers what each color feels like in terms of its value, whether it’s warm or cool, and how it fits the composition. I am looking for something that feels harmonious with my nervous system. I begin with abstract shapes, then ask, “Is this shape interesting? Does this color work next to that one? Is it too strong? Is it helpful to the overall composition?” The more complex the mix, the more likely it is to hold my attention, and allow me to linger. Those puddles of paint sitting on my six foot glass palette...

Katrina Revenaugh Bunny Luv Acrylic Paint and Spray Paint on stretched Raw Belgian Linen. Back side of linen is primed. Year: 2020 Size: 61.25×49in Signed: On Verso COA provided Ref...

Heidi von Faber Stack of Dishes II Acrylic on linen 100 x 80 cm ( framed/ included in price 105 x 85 cm) Dutch artist Heidi Von Faber lives and works in The Hague. The Stillllifes...

Nahum Tschacbasov American/Russian, 1899-1984 Portrait of a seated Man, 1972 (red, white and blue) Oil on linen Hand signed and dated upper right. Unframed Canvas 40 x 30 in Nahum T...

"Look at a tree, a flower, a plant. Let your awareness rest upon it. How still they are, how deeply rooted in Being. Allow nature to teach you stillness." – Eckhart Tolle Abstract t...