Kim Hyun Hee

After Image

2024.12.07 - 12.26

YZHQ_Z1

1F, 8 Apgujeong-ro 79-gil, Gangnam-gu

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As the year ends, YZHQ presents "After-Image", a solo exhibition by artist Kim Hyun-hee. This exhibition explores the intersection of fading imagery from the past and innovative materials of the present, envisioning possibilities for the future. She focuses on furniture as a medium that evolves slowly while remaining integral to everyday life. Using traditional Korean furniture as a temporal and cultural bridge, she crafts narratives that challenge boundaries between inside and outside, tradition and modernity, and even gender. With the world, she strives to communicate in new and profound ways.

In "After-Image", she delves into the themes of time, experience, and imagery. She examines how the traces of the past remain as afterimages and how these remnants can guide us into the future.

Her works, crafted from materials such as aluminum profiles and acrylic, reflect her direction and desire to convey the temporality of aesthetics and the continuity of meaning. More than just visually striking works, she invites the audience to explore the deeper emotions and thoughts that inspired her.


-A Note by Artist-

Transforming the Past into a Seamless Future


A zoetrope is a device that creates the illusion of motion from a sequence of static images inside a spinning cylinder. As it rotates, the previous static individual image merges into a continuous and dynamic movement due to the afterimage effect. Inspired by this phenomenon, I ponder how still images of the past can gain continuity in the present to generate a single motion.

An afterimage refers to a faint visual impression that lingers even after the physical object has disappeared. Memory functions similarly, preserving selectively edited scenes rather than unaltered realities. As such, images of the past, preserved and curated according to what we wish to remember, compensate for future uncertainties. This selective memory often wields significant influence in art, glorifying past creations as inherently beautiful while dismissing contemporary art as superficial or inferior.

However, a renowned writer Bertolt Brecht stated, "We must begin not with the good things of the past but with the bad things of today." As someone living in an uncertain and unsteady present, I believe embracing this "movement of the bad today" is the role of contemporary art. This movement connects the past to the future, making the present a necessary link in the time continuum.

We might imagine ourselves immersed in an ocean of the past's glory. Yet, we must thrash forward, propelling ourselves toward the future. My current works embody this struggle, an effort to bridge the past and future by grappling with the uncertainties of the present.

The triad of time, experience, and imagery is central to my artistic practice. In the "Ancient Future" series, I explored the confined lives of Korean women through chamber furniture, challenging boundaries and preconceptions. The "White Nostalgia" series examined the constructive role of the past in shaping the present, likening this to a "white function" of memory. In contrast, The "After-Image" investigates how a succession of past moment forms lingering impressions and questions whether these impressions can lead us seamlessly into the future.

The works in "After-Image" take the shape of traditional Korean furniture, incorporating patterns reminiscent of wood to evoke past materials. Yet, these pieces are created using modern techniques such as UV printing, CNC milling, and laser cutting, with materials like aluminum profiles and acrylic. This juxtaposition of traditional imagery and contemporary methods emphasizes that these works are not merely recreations of the past. Instead, they serve as a collision point between the materiality of the present and the imagery of the past, producing after-images that reflect today's complexities.

These "bad things of today," as Brecht might call them, symbolize incomplete and imperfect remnants of memory. The furniture is not purely functional but exists as multidimensional objects that suggest something more profound. They blur the line between reality and representation, embodying both the weight of history and the uncertainty of the present.

installation view 1

installation view 2

installation view 3