#salderi

19th century

A leopard, two tigers and a magpie

Jakhodo

watercolour, silk, gilt

the panel gilt-edged and now laid on a green patterned silk ground

framed 124.5cm. by 82cm.

4 3/4in. by 2ft. 8 1/4in.

1688 - 1758

Torii Kiyomitsu II  二代目 鳥居清満  

1787 - 1869

aussi nommé Kiyomine 清峰（きよみね)

The wind blows the lotus fragrance

Qi Gong

中国传统文化

Traditional Chinese Culture

Two Catfish as Street Musicians in the Kashina district

Jishin no sucharaka

1855

My Road

korean traditional painter

acrylic on silk

2022

Vietnamese artist

13th century

Persian manuscripts

xpuigc

South korean artist painter

“A Peaceful Afternoon”

“An Autumn Night”

“Cozy & Silent”

COLOSSAL

Swans, Plants, and Fragmented Figures Warmly Embrace in Yool Kim’s Paintings

November 28, 2024

Art

Grace Ebert

Warmth permeates Yool Kim’s most recent body of work, which portrays tangled masses of limbs and swans in rich palettes of reds, pinks, and oranges.

Laying dense lines in acrylic paint, the Seoul-based artist examines the interactions between living things and their sometimes contradictory desires. Her new paintings entwine fragmented iterations of human figures with graceful black and white birds, monsteras, and ferns to explore peace and equality.

“I wanted to express the beauty of being able to care (for) the weak and taking care of each other, without a sense of superiority and inferiority in living things that are set by the world,” Kim tells Colossal. “By hugging, touching, or leaning on each other, I highlighted the meaning of connection and warmth.”

As with earlier bodies of work, this series similarly explores the fractured nature of the self. Kim shares that she’s feeling calmer and more tranquil these days, which is reflected in the ways figures stretch to embrace one another.

“I also wanted to express that I have many egos and personalities within me; I am a human being full of complexity who cannot grasp existence as a single disposition,” she adds. “I’m always considering myself.”

Kim will show paintings in several exhibitions this spring, the first of which opens in March at Hall Spassov in Seattle.