dong jin Kim

dong jin Kim

dong jin Kim Artist artworks for sale

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  Artist: dong jin Kim
 Live in: daejeon, korea, South Korea
 Artworks for sale: 22.00
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dong jin Kim Artist Bio:

Ghosting"”What Lies Hidden Under the After-image Diogenes"”still remembered as the man who said to Alexander the Great, "I would like you not to block the sun""”has taught us to defy all convention; to not lose our self dignity; and to find our happiness in our inner, not outer, world. He yearned for a pure, anarchist state of being and tried to make people realize that conventions and traditions, such as laws and systems, are mere bubbles. His world view can be defined, in a nutshell, by the Greek word "kynic." The term refers to a "pleasure-seeking anarchist skeptic," but one who should not be a cynic. Such attitude, surprisingly, overlaps with the artistic phenomena taking place in our time: the convention-defying avant-garde spirit; art that is armored with attitude rather than form; protest against conventional beliefs and systems; the gesture of spitting at the world; meaningless pleasures; and nevertheless, an attitude of pluralism, that last bastion which at least keeps us from turning cynical, maintaining tolerance for the traits and sensibilities of others. Such phenomena define post-modernism. In this sense, the Diogenesian spirit is a distant ancestor of post-modernism. Kim Dong-jin's paintings are also trees that have been nursed by the waters of a Diogenesian spring. His artistic journey, which began in 1991, was one headed towards the fringe, embracing things that no one bothered to look at. Kim turned away from what was mainstream or powerful or muscular, famous, expensive or trendy, as well as all that others longed to possess and to acquire"”what people found beautiful, irresistible, sweet, hedonistic, splendid or orderly"”and instead, pulled to his side and made strictly his own all that was on the other end. He dug up nostalgia from old forgotten posters of rural villages and brought to the center stage used machine parts that had been brutally abandoned. He loved stale, soggy cookies rather than sweet, crispy biscuits. He preferred the grotesque ugliness of an old man's dentures to the balance created by a pair of beautiful breasts. By denying the conceptual system of what others believe to be right or good, Kim developed an aethestics of negation and discovered an even stronger life force from death imagery, rather than from life imagery. The following is an entry from Kim's journal towards the end of his journey to the fringe during the 1990s: "Death is the most terrible thing of all, and the greatest strength is demanded to keep death's work going." Hegel's statement is both the starting point and the destination of my meditation. The highest force is perhaps located on two polar ends. Men reach a stage of transcendence only when they overcome the pain of death. Only when they taste death they begin to understand life's high moments. My companions, or my codes, wander the vicinity of death and indifference, isolation and the fringe. This realm of death and isolation is where I discover my infinite high moments in life. As we can see above, Kim Dong-jin's "companions," or "codes," were the forces of life that occurred on a seemingly helpless and vulnerable being's path to recovery after overcoming death. It was an attempt to overturn conventional ideas while building his own ideas"”just as a small shrub can absorb light and rainwater only when a big tree falls. It was not until the late 2000s, however, that Kim finally accepted that attitude alone cannot give life to a new art form. It was only then that he was able to realize, art is no different from liquor, brewed from a mixture of attitude, form, and metaphor. He came to reconsider his aethestics of negation, which no one admired, and instinctively learned that his itinerary had to be altered. It was none other than the word honesty that had brought him to his knees. What is it that I love the most? What is the goal of my artistic pursuit? What is art? Kim had always been a fan of cartoons and movies. When alone, he would drift amidst these rich yet light images. In these moments, he would feel no pain, and realized that this is a sensibility shared by the rest of his generation. For a long time, he contemplated the differences between film, including animation, and painting, the oldest medium around. For Kim, it was in these streaming images, such as film or animation, where he was able to maintain a sense of painless ease and serenity, but he found no comfort when it came to the overbearing obligations and physical constraints that painting imposed"”the medium of painting demanded that he discover something wholly new. In 2008, Kim reached a bold resolution after struggling with the traits of his generation, his memories of the past, and the obligations posed by the genre of painting. He decided to apply anaglyph images to his painting. Anaglyphs are images made of two color layers, red and cyan. This technique is used to produce a stereoscopic 3D effect by superimpo