KIM Kwang Ho

Until now, expressions of my shadow have gone through a range of changes. After the process of creation of the early stage where I focused on spatiality (a shadow corresponds to concept of naught) emptying things by forming a background, I tried linear expression of a shadow, internal. explanation of planarity, description of spatiality in planarity and expression of sides and colors.

Later, in Sagunja, the Four Gracious Plants (plum, orchid, chrysanthemum, and bamboo), the shadow produced from the process of substantializing the non-substantial shadow returned to the process of creating a non-substantial one again.

Here, I pursued essential figuration of the object and embraced the blank space (margin) through the square frame, by way of relationship, with space and modification of substantial figuration (juxtaposition by adjusting partial angle of figuration, adding some 3D space, newly interpreting and translating sides and lines).

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KIM Kwang ho

Until now, expressions of my shadow have gone through a range of changes. After the process of creation of the early stage where I focused on spatiality (a shadow corresponds to concept of naught) emptying things by forming a background, I tried linear expression of a shadow, internal. explanation of planarity, description of spatiality in planarity and expression of sides and colors.

Later, in Sagunja, the Four Gracious Plants (plum, orchid, chrysanthemum, and bamboo), the shadow produced from the process of substantializing the non-substantial shadow returned to the process of creating a non-substantial one again.

Here, I pursued essential figuration of the object and embraced the blank space (margin) through the square frame, by way of relationship, with space and modification of substantial figuration (juxtaposition by adjusting partial angle of figuration, adding some 3D space, newly interpreting and translating sides and lines).

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Selected Works

Biography

KIM Kwang ho

Graduation from College of Fine Arts and Graduate School of Education in
KyungBuk National University

Degree of Doctor in Fine Arts (A Study on the Korean Existentialism Sculpture)

The shadow is a methodological instrument to search for an ego and to find an answer to the most fundamental and essential question of human beings, “Who and what I am?”

“No object without shadow can exist. Every form and shape of the world, whether it moves or not, is a substantive three-dimensional structure. However, shadows constantly return and revert from the plane to the three dimension in my sculptural works, of which the nature is three dimensional. It is because this attempt to substantialize immateriality to materiality is a way of searching for another ego.”

In years of practicing, Kim has developed and experimented with different expressions of shadow: focusing on spatiality and with the design of the sculpture structure itself as a background; allowing a wide blank space in the background and emphasizing on the figuration of the object in front; creating a frame and adding different colours to the sculptures etc. Every form and shape existing in our world are three-dimensional, with spaces in between or surrounding that exist as a void. They are all an investigation into creating the non-substantial from substantial, and vice versa.

No matter the way of expression, Kim’s subject of focus has always been loyal to the Four Sagunja, also known as the four noble ones or four gracious plants – plum, orchid, chrysanthemum, and bamboo, this time with the recurring motif of a seemingly tranquil moon in a golden form on the other side.

Along in the group of his most recent works are also pieces that shift our attention to other objects such as the human figure, houses, and shapes, some with repeated layers and patterns. Each work is placed in front of a mirror as the back frame, offering an alternative way of appreciating Kim’s steel sculptures.
On eye-level, the images appear to be either in black or white and only when you look into the reflection from a different angle would you see a coloured reproduction.

The introduction of a myriad of bright colours added a contemporary touch to the pieces, different from the artist’s usual works. Once again, Kim’s sculptures invite the audience’s gaze to travel beyond the boundaries of line expressions, this time extended to the mirrored images created within the works.

Exhibition highlights

Private Exhibition: 35 times

2019

32nd Kim Kwang-Ho Four Gracious Plants Sculptures Invitational Exhibition
(Gallery Jeeum in Seoul. 2019)

ARTFAIR-Solo, Group Exhibition: 380 times

2019

International ART Show (Coex. Seoul. 2017~2019)

Affordable art fair (Hong Kong, Singapore 2019)

2018
A & C (Art center in Seoul. 2018)

International Sculpture FESTA 2018 (Art center in Seoul. 2017~2019)

Contemporary ART Show PLAS 2018

KIAF (Coex. Seoul. 2018~2019)

Present

– Member of the Korean Fine Arts Association, the Korean Sculptor’s Association and Daegu Sculptor’s Association

– Successive Holing of Chief of Daegu Sculptor’s Association (2006~2009)

– Member of Korean Art Education Association and Society for Art Education

of Korea

– The Invited Sculptor of Daegu City

– The Head of k- Modeling Center, Daegu Modeling Center