Gallery Index Solo exhibition

Field, Something scattered 

The modern art scene is characterized by the expansion of materials, a key feature that sets it apart. Squeezing paint from a tube to shape a creation is no small feat, a practice that dates back to the ancient cave paintings of 20,000 years ago. The instant you discard the paint, your work's possibilities open up to a whole new realm. Embracing the use of diverse elements like paint signifies a fresh frontier in painting, brimming with excitement.

This marks the inception of "raid-made," a method that harnesses raw materials in their natural state. A new era has dawned where everyday objects like bicycle wheels and ramen boxes find their place in art. Notably, Western raid-made artists predominantly favor industrial materials, owing to their deep ties to human civilization.

Youngsoo Kim's art incorporates materials like dirt and charcoal, all of which possess a natural essence. A parallel can be drawn with artist Lee Ufan, who integrates raw stone directly into his creations, emphasizing a fundamental approach that prioritizes honoring the inherent physical qualities of the materials. Kim's belief that art can emerge from materials in their pure state, without the need for manipulation like molding with clay or charcoal, reflects an innate resonance with the collective unconscious deeply rooted in the Asian cultural ethos.

Next, the direction of thought should be to ask why it is earth and charcoal among the many natural substances. The two substances, which are both material and object, can be grouped by a common denominator.

I propose the term 'regression' as a fitting descriptor. No object can endure the relentless passage of time. Fading away is a natural process. The charcoal may well mark its final presence before vanishing. Cracks boldly expose the life imprinted within a tree. The intricate lines resembling veins amidst the dark charcoal are mesmerizing, akin to the deep wrinkles of an elderly man, encapsulating the essence of a lifetime. Despite the chaotic lines, there is a striking beauty in them. Is there a life devoid of pain anywhere on this earth? I believe that moments of suffering can also hold a profound beauty.

Items that seemed destined for abandonment took their place as the masters of the canvas. And thus, they unified into a singular meaning. Could Kim Young-soo's significance extend to represent 'I' or 'we'?

Geonsu Choi (Image Critic)