Ki Yeun Kim

South Korea

Escape - oil pastels, oil bras, acrylic paint on canvas 71 x 81 cm
Ladies' Places - wood blinds, beads, laces, hairs, inks, acrylic paint on canvas 71 x 63 cm

Ki Yeun Kim got BFA from Maryland Institute College of Art in 2017. Back then, she mostly has worked on drawings with artistic concept about the notion of ugliness which describes a negation of beauty and truth embodied in an object. she received C.V Starr Scholarship and Transfer Scholarship, and right after graduation, she participated in the group exhibition named as “Night: The 28th Annual Strathmore Juried Exhibition” hold in Strathmore Hall Foundation, INC in North Bethesda, MD. In 2022, Ki Yeun got MFA from Cranbrook Academy of Art. and during that year, She have since become interested in feminist theory which has informed her reengagement with the concept of ugliness within a social and art historical context. she involved in “Michigan Emerging Artists Exhibition” in The Alluvium Gallery (Kendall College of Art and Design), MI. Ki Yeun is living and working in South Korea now, and she is participating in exhibition in South Korea, Europe and USA.

I have since become interested in gender politics, and it helped me examine a way to approach art materials in terms of structuralist perspectives, so I would like to investigate cultural, political and social content within each of art materials, combining them to create unconventional contexts, in order to break down cultural hierarchies. I have been curious about the clear definition between beauty and ugliness as well as superiority and inferiority are formed with dominant cultural discourse. Therefore, I would  reimagine female preference and taste which subvert  patriarchal cultural contexts in art history. Through reflection, unexpected materials function as a rejoinder, a feminine beauty which has been excluded from taste in mainstream culture. In particular, The rectangle shape of canvas frames—their verticality and inflexibility—symbolize masculinity in art history. Domestic supplies and ornamental materials signify problematic conceptualizations of femininity and inferiority, as they are regarded as mere raw materials in everyday, mundane life. I attempt to overwhelm the canvas frame with these materials in order to subvert patriarchal structures.