List of products by brand Seonja Kim

Born in1961 in South Korea. Lives and works in France.

EDUCATION

1999 - 2009
Licence et maîtrise d’arts plastiques-  Paris 1 DEA d’arts plastiques et DEA d’esthétique
Doctoral student in plastic arts

1981 - 1985
Busan Women's University - Bachelor's degree, Faculty of Fine Arts

SOLO SHOWS

2017
Galerie O, Seoul, South Korea
Galerie Arty the box, Busan, South Korea
Galerie Palais of Seoul, Seoul, South Korea
Galerie Marine, Busan, South Korea

2016
Galerie The, Masan, South Korea
Galerie Palais of Seoul, Seoul, South Korea

2015
Galerie Thy Than, Saint-prix, France

2014
Galerie Médiart, Paris, France

2013
Galerie Médiart, Paris, France

2012
Galerie Médiart, Paris, France

2010
Galerie Vooks, Seoul, South Korea

2008
Galerie Marine, Busan, South Korea

2007
Galerie Daewoo, Masan, South Korea
Exposition portes ouvertes pour DVD-ESCOM & FMSH, Groslay, France

     
1998
Galerie Baram-Heunjeuk, Hapcheon, South Korea
Galerie Daewoo, Masan, South Korea

GROUP SHOWS

2019
Format de poche>, galerie Abstract project, Paris, France

2018
<Échangismes>, galerie Abstract project, Paris, France

2018
Salon Réalités nouvelles, Paris Floral Park, Paris, France

2017
Salon Réalités nouvelles, Paris Floral Park, Paris, France

PRIZES AND AWARDS

2017
<Art absolument>, Salon Réalités Nouvelles, Paris, France

1984-1986
Selected for the Art competition of Gyeongnam, South Korea

1984
Grand Prix d'art pour la jeunesse

Whatever their color, size or format, Seon ja Kim's works are assemblages of pieces cut from large, expressive, highly gestural drawings, free interpretations of female nudes. Assembling these fragments of initially figurative lines produces entirely abstract compositions.

Many of the works are organized in irregular formats, unassignable to geometric figures, sometimes dispensing with the foundation provided by the horizontal or vertical axis. The dynamics of these formats depend on the internal rhythm of the strokes, their density, and the cutting of fragments whose arrangement produces the format itself.

Often, the translucent aspect of the tracing paper, with brightly-toned pieces on the front and paler ones on the back, enables a spatial interplay between front and back, giving the surface its own depth, tension, flexibility and breathability.

The ensemble displays formal characteristics, such as abstraction or the assembly of fragments, without hierarchy, typical of Western painting, but the liveliness of the line or the treatment of emptiness are there to remind us of the discreet but inalienable Oriental quality of these works.

Alain Cauchie