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<channel>
	<title>Kim Hyunji</title>
	<link>https://kim-kim-kim.com</link>
	<description>Kim Hyunji</description>
	<pubDate>Thu, 21 Mar 2019 00:24:41 +0000</pubDate>
	<generator>https://kim-kim-kim.com</generator>
	<language>en</language>
	
		
	<item>
		<title>home</title>
				
		<link>https://kim-kim-kim.com/home</link>

		<pubDate>Mon, 09 Nov 2015 18:28:06 +0000</pubDate>

		<dc:creator>Kim Hyunji</dc:creator>

		<guid isPermaLink="true">https://kim-kim-kim.com/home</guid>

		<description>&#38;nbsp;

&#60;img width="1486" height="1500" width_o="1486" height_o="1500" data-src="https://freight.cargo.site/t/original/i/ab02ed07fde988a2a16377228f112f2591b1461fa30ba58f22c747cb6e183a30/Void-I--Oil-on-Canvas--101.6-x-101.6-cm--2016.jpg" data-mid="7771763" border="0"  src="https://freight.cargo.site/w/1000/i/ab02ed07fde988a2a16377228f112f2591b1461fa30ba58f22c747cb6e183a30/Void-I--Oil-on-Canvas--101.6-x-101.6-cm--2016.jpg" /&#62;Void I , Oil on Canvas, 101.6 x 101.6 cm, 2016 All images are copyrighted © by Hyunji Kim. 
The use of any image from this site is prohibited unles 
prior written permission from the artist is obtained.</description>
		
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	<item>
		<title>Untitled - Chicks</title>
				
		<link>https://kim-kim-kim.com/Untitled-Chicks</link>

		<pubDate>Thu, 21 Mar 2019 00:24:41 +0000</pubDate>

		<dc:creator>Kim Hyunji</dc:creator>

		<guid isPermaLink="true">https://kim-kim-kim.com/Untitled-Chicks</guid>

		<description>
‘Untitled - Chicks’ 
(2019)

Metro Gallery,&#38;nbsp;Melbourne

&#60;img width="5669" height="3782" width_o="5669" height_o="3782" data-src="https://freight.cargo.site/t/original/i/70c8039a862d6cd329a7b111f3ce62f77379a2c38f43e6543bf1fd16a3002370/steal.jpg" data-mid="86791654" border="0"  src="https://freight.cargo.site/w/1000/i/70c8039a862d6cd329a7b111f3ce62f77379a2c38f43e6543bf1fd16a3002370/steal.jpg" /&#62;
Steal, Mixed media on Canvas, 140x193cm, 2016





















In
this series, ‘Untitled- chicks’, Kim Hyunji






 rejects a level of artistic control
often cherished by the artist, instead encouraging models to arrive at their
own postures. By redistributing the power of representation, she challenges
patriarchal ideas of the body. This act of collaboration is to defy a
long-lasting tradition of nude works created and controlled by male
artists. 
Kim collaborates with a diverse spectrum of people and identities, in
an attempt to move away from the predominantly white female body
that remains a dominant ideal of western aesthetics. Her work is a passionate
effort to dismantle discrimination and unprofessionalism in the Australian creative industry, inspired by her own experiences as a woman of colour.











&#60;img width="3395" height="5669" width_o="3395" height_o="5669" data-src="https://freight.cargo.site/t/original/i/fbb66a4247e92a016e1b5dcedfba3262705a9235d41f4709bb254b82cc791775/ara.jpg" data-mid="86795868" border="0"  src="https://freight.cargo.site/w/1000/i/fbb66a4247e92a016e1b5dcedfba3262705a9235d41f4709bb254b82cc791775/ara.jpg" /&#62;Ara, Oil on Canvas, 2019

Essay by&#38;nbsp;Julius Killerby
Kim Hyunji predominantly paints the faces and nude
bodies of friends. In her painting, Ara, the nude figure crawls forward, staring vacantly into space.
Hyunji uses this overtly sexualised pose as a reference to the curated
self-presentation that is so prevalent in social media, a platform which Kim’s
generation, the Millenials, has never lived without. Juxtaposed against this
day dreaming figure, is its “double-figure”, a physical distortion which Kim
uses frequently to convey her subject’s inner psyche, as opposed to their
public persona. One allows the viewer to be a disengaged voyeur. The other almost
glares at us, perhaps accosting us for staring at her nude body. Whereas other
artists have used this technique in the past to convey a sense of movement,
(notably in Duchamp’s “Nude Descending a Staircase” 1912), Hyunji’s purpose is
to convey an almost Jekyll and Hyde dichotomy in her subjects. Moreover, many
of the nude paintings are inspired by the artist’s own experiences of gender
discrimination within the Melbourne Art Scene and what she views as the exploitation
of the female nude. There is perhaps a suggestion of this in the piercing,
almost accusatory, stare of the subject.


&#60;img width="1500" height="3025" width_o="1500" height_o="3025" data-src="https://freight.cargo.site/t/original/i/d7c2915d704fa4d90880ba4f191a9516bd7a552fdfe591fb4883d3d339f75f1f/5-Stefania--Oil-on-Reflective-tint--95-x-190cm--2017.jpg" data-mid="86795228" border="0"  src="https://freight.cargo.site/w/1000/i/d7c2915d704fa4d90880ba4f191a9516bd7a552fdfe591fb4883d3d339f75f1f/5-Stefania--Oil-on-Reflective-tint--95-x-190cm--2017.jpg" /&#62;
Stefania, Oil on Reflective tint, 95 x 190cm, 2017

By painting on a life size scale and occasionally on
reflective surfaces, Hyunji attempts to illicit a sense of discomfort from her audience.
Rather than seeing the 2D image as part of a world removed from our own, the
figure is instead brought into the audience’s space or vice versa. This effect
is sometimes accentuated by the extension of a subject’s limb through an
artificial frame. The genius of Hyunji’s work is her ability to break the wall
that usually separates the subject from the spectator. In the same way that we
frequently view people through the protective layer of a phone screen, her work
encourages us to engage with the subject matter, not as a voyeur, but as an
active participant.

&#60;img width="5057" height="6475" width_o="5057" height_o="6475" data-src="https://freight.cargo.site/t/original/i/7995901b10d77d863d8cac1e4947d707785be66741d53de26e47d77ed86abe5b/11-Anthony-Lister--Oil-on-Linen--170-x-215-cm--2018--copy.jpg" data-mid="86791126" border="0"  src="https://freight.cargo.site/w/1000/i/7995901b10d77d863d8cac1e4947d707785be66741d53de26e47d77ed86abe5b/11-Anthony-Lister--Oil-on-Linen--170-x-215-cm--2018--copy.jpg" /&#62;
Lister, Oil on Canvas, 170x215cm, 2018
One of the most compelling pieces in the exhibit is
the “double figure” nude portrait of Anthony Lister. The pose is overtly
sexualised and perhaps deliberately confronting. Hyunji is perhaps highlighting
the way that the gender of a nude form will often determine how it is perceived.
Why, you can almost hear her saying, does the male nude shock us when the
female doesn’t? She is criticizing, it would seem, the way in which the female
body is fetishized and normalised within the Art World specifically, and
society generally.


Julius Killerby, 2019












&#60;img width="4698" height="6282" width_o="4698" height_o="6282" data-src="https://freight.cargo.site/t/original/i/599ecef15bb9652ec7b5ab396062e17f017673fce4590718d60ec49217e48a9c/DSC05530-HDR-copy.jpg" data-mid="86790802" border="0"  src="https://freight.cargo.site/w/1000/i/599ecef15bb9652ec7b5ab396062e17f017673fce4590718d60ec49217e48a9c/DSC05530-HDR-copy.jpg" /&#62;







Self Portrait, Oil on Linen, 150 x 200cm, 2019


&#60;img width="4352" height="5814" width_o="4352" height_o="5814" data-src="https://freight.cargo.site/t/original/i/e75eb87a18772f7c713b2f506af048349d7db8a9a638f9e1e69a9893fdc621af/Lekhena--Oil-on-Canvas--120-x91cm--2019-small-copy-copy.jpg" data-mid="86791013" border="0"  src="https://freight.cargo.site/w/1000/i/e75eb87a18772f7c713b2f506af048349d7db8a9a638f9e1e69a9893fdc621af/Lekhena--Oil-on-Canvas--120-x91cm--2019-small-copy-copy.jpg" /&#62;
Lekhena, Oil on Canvas, 120 x 91cm, 2019


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Atong with her self portrait, Oil on canvas, 100 x 90, 2019









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Opening night of ‘Untitled-chicks’, Metro Gallery
 captured by Jason Blake



&#60;img width="1080" height="1080" width_o="1080" height_o="1080" data-src="https://freight.cargo.site/t/original/i/868745e3f0735ab49da41f753f0f81221012eae7858f31c233a8c7c106cc4e35/metro-e-flyer.jpg" data-mid="86678563" border="0"  src="https://freight.cargo.site/w/1000/i/868745e3f0735ab49da41f753f0f81221012eae7858f31c233a8c7c106cc4e35/metro-e-flyer.jpg" /&#62;</description>
		
	</item>
		
		
	<item>
		<title>Ephemera</title>
				
		<link>https://kim-kim-kim.com/Ephemera</link>

		<pubDate>Tue, 13 Nov 2018 14:54:09 +0000</pubDate>

		<dc:creator>Kim Hyunji</dc:creator>

		<guid isPermaLink="true">https://kim-kim-kim.com/Ephemera</guid>

		<description>Ephemera 
(2018)
Beinart gallery, Melbourne

&#60;img width="3307" height="2206" width_o="3307" height_o="2206" data-src="https://freight.cargo.site/t/original/i/47efee1054892b33406c5401572eccff145b33321cdda9efefd916181e6fb3ca/3.jpg" data-mid="31445557" border="0"  src="https://freight.cargo.site/w/1000/i/47efee1054892b33406c5401572eccff145b33321cdda9efefd916181e6fb3ca/3.jpg" /&#62;

&#60;img width="3307" height="2205" width_o="3307" height_o="2205" data-src="https://freight.cargo.site/t/original/i/38b2c4c50f24242c88f3dc0d3953d0d9f322a7416f341de19b9aecbcd70c2b15/2.jpg" data-mid="31445556" border="0"  src="https://freight.cargo.site/w/1000/i/38b2c4c50f24242c88f3dc0d3953d0d9f322a7416f341de19b9aecbcd70c2b15/2.jpg" /&#62;
'Ephemera' installation view, 2018Photo by Alexander Mitchell
Ephemera : 
Things That exist or are only used or enjoyed for a short period of time Through Ephemera series, Kim Hyunji attempted to explore notions of the temporal, the fleeting disarray and moments of pure euphoria, as achieved briefly through the use of drugs. The Paintings capture their subjects in singular states of intense self-reflection and exaltation, still in the midst attached to their utensils and tools used to enter a state of absence of mind. The works ability to convey what cannot be described or captured in those long seconds in between thought and action. The attuned reality of the compositions paired with Kim’s sense of expressive abstraction evokes sentiments permeated through millennial’s culture of anxiety, and disarray a thematic element underlying Kim’s practice.


&#60;img width="2986" height="2000" width_o="2986" height_o="2000" data-src="https://freight.cargo.site/t/original/i/c8ab57cbe0940ffa69b25724ab95d09f101940b32d054427441aa30b376a8e11/12-Reflection-with-Lines--Oil-on-Linen--61-x-41cm--2018.jpg.jpg" data-mid="31445569" border="0"  src="https://freight.cargo.site/w/1000/i/c8ab57cbe0940ffa69b25724ab95d09f101940b32d054427441aa30b376a8e11/12-Reflection-with-Lines--Oil-on-Linen--61-x-41cm--2018.jpg.jpg" /&#62;Reflection with Lines, 61 x 41cm, Oil on Canvas, 2018
</description>
		
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	<item>
		<title>ANON</title>
				
		<link>https://kim-kim-kim.com/ANON</link>

		<pubDate>Tue, 13 Nov 2018 14:53:43 +0000</pubDate>

		<dc:creator>Kim Hyunji</dc:creator>

		<guid isPermaLink="true">https://kim-kim-kim.com/ANON</guid>

		<description>ANON 
(2018)&#38;nbsp;


held in Good space, Sydney, and SOMA gallery, Melbourne.&#38;nbsp;Curated by Kim Hyunji


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Group exhibition ANON installation view, Good space, Sydney.
Photo by David Charles Collins

 Featuring work from Abdul Abdullah, Ryan Boserio, Sally Bourke, Iain Dean, Erika Gofton,&#38;nbsp;Neva Hosking,&#38;nbsp;Richard Healy,&#38;nbsp;Nicholas Ives, Kim Hyunji,  India Mark,&#38;nbsp;Shannon Mcculloch, Nic Plowman, Andy Quilty, QUARTZVII, Loribelle Spirovski,&#38;nbsp; and Jennifer Whitten.Group Exhibition ANON explores the different ways contemporary artists in Australia are exploring and experimenting with the portrait subject through the medium of paint.
 


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Group exhibition ANON installation view at SOMA, Melbourne.Photo by Naveed FarroWe asked the featured artists to consider the potential of the anonymous subject within portraiture. The idea of anonymity is left open to the artist's interpretation, this could extend to the unknown or unknowable subject; or a subject rendered in a way that makes them unrecognizable. We want to focus on the potential of portraiture as a point of reference that allows an artist to explore more complex and complicated themes than the valorization of an important social figure or personal relation, as is predominantly the criteria for portrait prizes nation wide.
The exhibition was held in Good space in Sydney and SOMA gallery in Melbourne, Australia.


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</description>
		
	</item>
		
		
	<item>
		<title>Misc 2018</title>
				
		<link>https://kim-kim-kim.com/Misc-2018</link>

		<pubDate>Tue, 13 Nov 2018 14:12:39 +0000</pubDate>

		<dc:creator>Kim Hyunji</dc:creator>

		<guid isPermaLink="true">https://kim-kim-kim.com/Misc-2018</guid>

		<description>

&#60;img width="2627" height="5368" width_o="2627" height_o="5368" data-src="https://freight.cargo.site/t/original/i/ecaa335e32d50d950bb7b5880f5370a5934c59162927204bdadac22c32ccd6d9/Jesus-dies-on-the-cross-Patrick-Doherty.jpg" data-mid="28386960" border="0" data-scale="85" src="https://freight.cargo.site/w/1000/i/ecaa335e32d50d950bb7b5880f5370a5934c59162927204bdadac22c32ccd6d9/Jesus-dies-on-the-cross-Patrick-Doherty.jpg" /&#62;

Jesus dies on the cross (Patrick Doherty),&#38;nbsp;Oil on Acrylic Sheet, 95 x 190cm, 2018

Commissioned work for the Station of Cross 2018 group exhibition, 
held in Wesley Uniting Church in Western Australia.
Finalist, Black Swan prize 2018 
&#60;img width="808" height="569" width_o="808" height_o="569" data-src="https://freight.cargo.site/t/original/i/ccd9fb35fc43feccb7ea57f0f8e89c11f2c9e6c9284e7c64e2d9e345b190beec/IMG_4392-2.jpg" data-mid="31581762" border="0" data-scale="85" src="https://freight.cargo.site/w/808/i/ccd9fb35fc43feccb7ea57f0f8e89c11f2c9e6c9284e7c64e2d9e345b190beec/IMG_4392-2.jpg" /&#62;&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Photo by Johannes Reinhart
&#60;img width="2151" height="3110" width_o="2151" height_o="3110" data-src="https://freight.cargo.site/t/original/i/ba63475a934a7386d111b3db4ba178a2d459e6718bb0a10e45f200f0dc070c9f/IMG_3904-2.jpg" data-mid="31581763" border="0" data-scale="85" src="https://freight.cargo.site/w/1000/i/ba63475a934a7386d111b3db4ba178a2d459e6718bb0a10e45f200f0dc070c9f/IMG_3904-2.jpg" /&#62;Installation view at the Art Gallery of Western Australia</description>
		
	</item>
		
		
	<item>
		<title>Mirror Stage</title>
				
		<link>https://kim-kim-kim.com/Mirror-Stage</link>

		<pubDate>Fri, 08 Dec 2017 12:11:44 +0000</pubDate>

		<dc:creator>Kim Hyunji</dc:creator>

		<guid isPermaLink="true">https://kim-kim-kim.com/Mirror-Stage</guid>

		<description>
Mirror Stage
 (2017)
Backwoods Gallery, Melbourne











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&#60;img width="1500" height="2232" width_o="1500" height_o="2232" data-src="https://freight.cargo.site/t/original/i/7e7d473d6058802ee70e925c44bc88ab9650e76d2d75be288fafaed5a988bab8/3-jacob-s.jpg" data-mid="7772729" border="0" alt="Jacob. OIL ON ACRYLIC SHEET. 2017 76.8 x 115 CM" data-caption="Jacob. OIL ON ACRYLIC SHEET. 2017 76.8 x 115 CM" src="https://freight.cargo.site/w/1000/i/7e7d473d6058802ee70e925c44bc88ab9650e76d2d75be288fafaed5a988bab8/3-jacob-s.jpg" /&#62;
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&#60;img width="1500" height="2250" width_o="1500" height_o="2250" data-src="https://freight.cargo.site/t/original/i/e06fbc8e53a439f7eb80f775b4dd7adde2a5e50c935a06218775c2224933aaa4/6-frances-s.jpg" data-mid="7772732" border="0" alt="Frances. OIL ON ACRYLIC SHEET. 2017 76.8 x 115 CM" data-caption="Frances. OIL ON ACRYLIC SHEET. 2017 76.8 x 115 CM" src="https://freight.cargo.site/w/1000/i/e06fbc8e53a439f7eb80f775b4dd7adde2a5e50c935a06218775c2224933aaa4/6-frances-s.jpg" /&#62;
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Mirror Stage series is an investigation of how social media can be used in the creation of persona. The Internet offers us many tools in how we can present out virtual presence to others, and some individuals design careers around this. I was interested in looking at the cause and effects of curating self-presentation, how it may be empowering, misleading or influential. I was also interested in what gets left behind after curated self-presentation, what remains hidden or deemed unfit for external projections of character – be that emotional self-censorship, strict aesthetic standards or what not. Social media can be useful for those wishing to write a particular narrative vision of themselves. These works were produced as collaborations with the models appearing in them.



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Mirror Stage, Backwoods Gallery, 2017


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