Bigindicator

JUNG S KIM

Profile  |  Artworks  |  Comments
20121212031424-circle_ii-3
CIRCLE II-#5, 2010 Photography 30"x40" © © 2012 Jung S Kim All Rights Reserved
20121212031914-circle_ii-4
CIRCLE II-#6, 2010 Photography 30"x40" © © 2012 Jung S Kim All Rights Reserved
20121212031103-circle_ii-2
CIRCLE II-#3, 2010 Photography 30"x40" © © 2012 Jung S Kim All Rights Reserved
20121212032150-circle_ii-5
CIRCLE II-#7, 2010 Photography 30"x40" © © 2012 Jung S Kim All Rights Reserved
20121212033030-circle_ii-6
CIRCLE II-#9, 2010 Photography 30"x40" © © 2012 Jung S Kim All Rights Reserved
20121212035317-circle_ii-11
CIRCLE II-#13, 2011 Photography 30"x40" © © 2012 Jung S Kim All Rights Reserved
20121212033212-circle_ii-7
CIRCLE II-#10, 2011 Photography 30"x40" © © 2012 Jung S Kim All Rights Reserved
20121212033420-circle_ii-9
CIRCLE II-#11, 2011 Photography 30"x40" © © 2012 Jung S Kim All Rights Reserved
20121212034403-circle_ii-10
CIRCLE II-#12, 2011 Photography 30"x40" © © 2012 Jung S Kim All Rights Reserved
20121212035457-circle_ii-12
CIRCLE II-#14, 2011 Photography 30"x40" © © 2012 Jung S Kim All Rights Reserved
20121212035703-circle_ii-14
CIRCLE II-#16, 2011 Photography 30"x40" © © 2012 Jung S Kim All Rights Reserved
20121212035834-circle_ii-15
CIRCLE II-#17, 2011 Photography 30"x40" © © 2012 Jung S Kim All Rights Reserved
20121212040116-_____
CIRCLE II-#19, 2011 Photography 30"x40" © © 2012 Jung S Kim All Rights Reserved
20121212040252-___
CIRCLE II-#21, 2011 Photography 30"x40" © © 2012 Jung S Kim All Rights Reserved
20121212025838-_-1
Quick Facts
Tags
self-portrait, surrealism, photography, digital, conceptual
CIRCLE II

“Circle II” series is a narrative about some negative emotions originated from the artist’s childhood experience. In this series, those negative sentiments are projected onto various different characters in traditional Korean folk tales based upon a simple dichotomy of good and evil and a clear-cut moral message that the good always win. Now, these character-roles transformed into self-portraits of the artist herself, bring out the repressed feelings and drastically visualize them. Four different strategies are used for this mapping of the artist’s subjectivity and memory on the fictional characters: first, a direct but exaggerated empathy between the artist and a character, second, an unnatural beatification of an evil character as a psychological attempt to cope with the negative figures and the negativity itself, third, a maximization of extreme fear inside caused by the past objects by amplifying the latter’s vicious and immoral power, and last, a despising caricaturing of moral hypocrisy of the objects. During the process, the heavy memory of the painful relationship that the artist has been reluctant to face is to be vented out as a casual emotional experience, which any one can have in life. This series, in this sense, is a form of self-therapy.