The work I’m showing, A Portal To Repetition (2022) is a part of my on-going series, Idling Conversations, of which the main goal is to liberate art from its fate as a communicative medium. My paintings in a form of installation, generate relationships with one another creating a state of flux - an ecosystem, in which there are repetitions of circulations. It is one of the more experimental pieces I would say - considering the crude attachment of casters. I recall doing so because the work lost its part in the ecosystem I’ve envisioned, and by giving it implications of temporality and mobility, it found its position back into it"
Can you describe your creative process and how you approach creating a new piece of art?
My creative process involves a lot of writing. Either raw or refined, collectively they appear through my work. I approach creating a new piece of art as treating another entity and with it, I experience interpersonal interactions. Through the interpersonal interactions, even more so than does the painting, I learn and unlearn - I shift.
Are there particular themes or concepts that you explore in your work in general?
My work centers around broken and dismantled visual languages in painting, borrowing from discourses of abstraction. Crystallized images with unfit and misleading use of visual languages are then activated into a state of flux as they generate relationships with one another. The revolvency and repetition, however, persist to question; how would one work be NOT cohesive, without being cohesive about just that? The impossibility of the act becomes what self-sufficiently and obstinately facilitates my art practice. My work is thus a form and conceptual experiment destined to fail.
Can you discuss any significant influences—artists, movements, or personal experiences—that have shaped your artistic style?
I’ve always admired my grandfather, Byungkook Yi’s paintings. I’m more and more learning the similarities between my works and my grandfather’s both in style and approach. I also find generational differences between the two - but the difference is what seamlessly connects the two practices together in time. This discovery was a confirmation for me that it is my vocation to carry out this part in life as an artist.
Looking ahead, what are your future goals or projects as an artist? Are there any new directions or ideas you’re excited to explore?
I’m still dedicated to the Idling Conversations series. I’m working on a project under this concept that I’m planning to show sometime at the end of this year. This is another attempt in liberating art as a communicative medium. Another scheme destined to fail.
Jimin hopes to convey an experience of irony with a sensation of simultaneous emptiness and liveliness through her artworks: “The communicational outcome boils down to nothing yet, it perverse points to the liveliness of beings”.
