To have to hold
If
our eyes are the mirrors to our souls, then our hands are our connection to the
world. Swiping a smartphone, putting food in our
mouths, or opening a door, our hands turn our thoughts into reality. They can
also reveal our labor, our relationships, and possibly, our potential for a
long and happy life.
Bearing
the fabric of traditional Korean clothing, and the marks of struggle, the hands
in Suhyun Kim’s paintings are
colorful testaments to reunion celebrations. But they are also spectacular
displays of dramatic duplicity. Uneasy embraces across history and geography,
they hint at the painful reality of unending separation, clutching at fleeting
and bittersweet happiness.
Other
paintings feature fighting politicians, their faces comically contorted. Are
their exaggerated expressions real? Or are they merely playing, posing for the
cameras, for us?
Painting
within a discourse of social analysis, a process of clipping media images, and
classifying her subjects, Suhyun Kim challenges our sense of emotional honesty. Her
images debate accountability and guilt, forcing us to question our complicity.
Like photographs as witness to personal stories, her paintings depict
individuals as universal archetypes, simultaneously complex and simple, like
each of us.
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