Interview with Soo Youn Kim
Could you share about your early experiences with art and how they influenced your decision to become an artist?
To be honest, I didn't initially set out to become an artist. As I searched for what I was good at, I ended up circling back a bit, but before I knew it, I had become an artist. Prior to embracing this path, I pursued a major in interior architecture in South Korea, gaining practical experience in the field. Fueled by a desire to delve deeper into design, I made the decision to study abroad in Germany. Ultimately, finding myself engaged in fine arts now, I consider it truly fortunate.
Having studied interior architecture, I find myself constantly contemplating space. The longing for a holistic artist-architect fusion still lingers. My goal is to be an artist capable of creating everything from small furniture designs to paintings and installation art on walls. Today, I can say that I have once again moved closer to that goal.
What initially drew you to the geometric language in visual arts, and how has your fascination evolved over time?
During my undergraduate years in art school, I first encountered the works of Mondrian and Theo van Doesburg, and I was fascinated by their geometric language. Barnett Newman's artworks also left a profound impression on me. In the process of expressing with a geometric language, I found more allure in representing abstract concepts rather than simplifying tangible natural subjects. In the early stages of my undergraduate work, I began simplifying the wing patterns of butterflies (imago) using geometric language, progressing to express concepts embedded in language, such as reflection, through geometric forms.
Currently, within the overarching theme of "Creation of Heaven and Earth," I have been immersed for several years in creating sensory works that visualize and integrate the concept of time using a geometric language.
Can you walk us through your artistic process? How do you go from an initial idea to a completed work, especially when incorporating geometric standards?
I will explain using my Moon Calendar series as an example. My Moon Calendar is based on data regarding the rising and setting times of the sun and moon. To achieve this, I designate a specific location since the rising and setting times of the sun and moon vary depending on the position. (The choice of the designated space is also a crucial element for conveying a message in the artwork.) Once a specific space and time (date) are determined, I investigate the times of sunrise, sunset, moonrise, and moonset at that location, collecting four (sometimes three) times. Dividing a circle representing a day into 24 hours, I mark these four times. This divides the circle into four sections, each colored according to its role. The yellow/golden section represents the night with only the moon, the black section represents a night without the sun or moon, the white (actually unpainted) section represents daytime when the sun and moon are both in the sky, and finally, the variously colored sections for each day represent the daytime when only the sun is in the sky. At first glance, these sketches, 365 in total, resembling mathematical diagrams, come together to form the artwork called "Moon Calendar 2020_Berlin."
As it is a Moon Calendar, the full moon is positioned along the central vertical axis based on the time it rises and sets, moving towards crescent moon phases as you go towards the edges. This way, we can observe the traces of the sun and moon's rising and setting movements throughout the year.
Your work often explores themes like time and rhythm. How do these elements manifest in your art, and why are they significant to you?
I began exploring themes of time and rhythm, particularly in the context of music, when delving into the overarching theme of "Creation of Heaven and Earth." Looking back, choosing the theme of "Creation of Heaven and Earth" during my undergraduate studies required considerable courage. However, no matter how much I contemplate it, I have a lingering sense that the exploration of this theme won't conclude in my artistic journey. In any case, I started creating artworks based on the content of "Creation of Heaven and Earth." I worked on the birth of light on the first day of creation, the separation of water on the second day, the emergence of land and the growth of plants on the third day, and the appearance and movements of the sun, moon, and stars on the fourth day.
The content of this fourth day's creation is titled "Timesound," and I began working on it around 2015. I am still immersed in the exploration of the fourth day. Of course, the works from the preceding days are not concluded either. I am always prepared to revisit previous days whenever new ideas arise. During the exploration of the movements of the sun, moon, and stars on the fourth day, I started contemplating the concept of time seriously and placed emphasis on visualizing time. This led me to associate time with music and initiate the process of auditory visualization of time.
The reason for connecting time and music dates back to my master's thesis project titled "<In the Beginning, There Was Sound>." During this project, I explored the correlation between the creation of the seven days and the origin of the musical scale. While it might sound metaphorical, I genuinely feel that there is a close relationship between the creation of the seven days (especially their sequence) and the origin of the musical scale (do, re, mi, fa, sol, la, ti, do). Therefore, time and rhythm became recurring and significant themes in my work, considering them essential elements within the overarching theme of "Creation of Heaven and Earth."
You use geometric standards to simplify forms of nature. Could you elaborate on this approach and how it helps in translating invisible terms into new forms?
I'll provide a description using the representative artwork from the Third Day of Creation series, titled "<03Family>." On the third day of creation, the land emerged, and plants began to grow. In this part, I focused on the movement of plants growing from the ground and reaching towards the sky. These movements manifest as numerous lines growing towards a central point. Elements symbolizing the important fractal geometry in the plant world were incorporated. I researched and documented 13 plants mentioned in the Bible, recording and assigning various colors to each one. Circles symbolizing the sky and squares representing the land were also incorporated. Particularly noteworthy as a geometric element is the mysterious Fibonacci sequence found in nature. I'll refrain from providing a detailed explanation of how the Fibonacci sequence is used in my artwork, allowing the viewer the joy of discovering its presence.
What are some of the challenges you face in your artistic practice, and how do you overcome them?
Sometimes, it can be challenging to maintain an experimental approach while also creating work that resonates with a broader audience. When I encounter people who find my work difficult to understand, I often ponder on how to make it more accessible to the public. My approach to addressing this involves not only exhibiting the artworks themselves but also attempting to display accompanying texts or video materials that explain them.
7. As a textile artist, how do you incorporate your themes of time, rhythm, and creation into your textile works?
- After graduating from the Textile Arts Major, I primarily engage in conceptual art rooted in drawing and sensory works associated with sound. However, if there is a project that requires the final outcome to involve textile work, I am willing to return to textile projects. My latest textile work goes back to 2015, specifically a project titled '03Family,' which was one of the pieces for my master's graduation, centered around the theme of the third day of creation. This work involves two tapestries connected vertically, utilizing the Jacquard technique to create a unified piece. I designed the visualization of rhythm with vertical lines resembling plants growing from the ground. The division of a single image into two tapestries serves the purpose of accentuating the contrast between night and day. To achieve this, the upper and lower tapestries were woven using functionally different techniques. The background, with a three-step difference in brightness, also relates to rhythm, making textile work the most suitable medium to express these concepts.
Living and working in Germany, how has the German art scene influenced your work?
Rather than stating that the German art scene influenced my work, it would be more accurate to say that the German philosophical landscape had a greater impact. During my undergraduate studies in fine arts, I had to complete philosophy courses, which led me to develop a profound interest in philosophy. It was during this time that I discovered my deep appreciation for philosophy as an academic discipline. As you may know, Germany is exceptionally rich in philosophical traditions. The conceptual and analytical nature of my artistic endeavors, as I engage in visual arts, likely stems from my strong attraction to philosophical thinking.
Of all the works you've created, do you have a personal favorite or one that holds special significance? If so, why?
Created in 2015, this artwork is titled "The Depth of Time." Navigating the transition from student to professional artist, where one must make a living through art, brought about a sense of anxiety. Nonetheless, despite these uncertainties, I approached the work with an experimental spirit.
The result was personally gratifying, and the artwork provided both a sense of accomplishment and emotional solace for me. The piece depicts seven small circles, each representing a day, coming together to form a larger circle, representing a week (7 days). This larger circle moves to the left by 7 degrees, growing and being redrawn on different layers. As several layers overlap, traces of the flowing passage of time begin to emerge.
While the piece is now part of a private collection and physically distant, revisiting it emotionally reconnects me with the initial sentiments, serving as a reminder of my artistic roots.
Finally, what advice would you give to young artists who are inspired by your work and wish to explore similar themes and methods in their own art?
To them, my advice would be to not be overly concerned about the artistic trends of the time or catering to popular taste. Instead, focus on building your own form. I, too, make a similar commitment with each of my endeavors.
