Kimsooja @ 526 W 29th
09 Nov 2006 - 13 Jan 2007
PETER BLUM CHELSEA
KIMSOOJA
A Wind Woman, 2003-2006
November 9, 2006 - January 13, 2007
Kimsooja:
A Wind Woman comprises a series of unique iris prints derived from large-scale film stills from her video A Wind Woman, 2003. The video was shot during a hillside drive in Honolulu, Hawaii. Here, she opened the camera shutter for an extended period of time, enhancing the light exposure and allowing the exterior world to flood into the pictorial field. In this body of work Kimsooja was interested particularly in the in-between space where the trees and the sky meet. This enabled her to transform realistic imagery into abstract paintings, and to continue her personal investigation into the blurring of categorical boundaries.
Kimsooja's attention to interstitial spaces can be traced to the start of her artistic career. In the early 1980's, her questioning of the canvas' surface initiated her 'sewing' practice in which she aimed to connect two pieces of fabric as a way to generate relationships between disparate parts. She further developed this approach in other projects, such as Cities on the Move, 1997-a literal patchwork of her memories. In A Needle Woman, 1999-2001 and 2005, Kimsooja continues this line of inquiry by examining various borders/boundaries -actual and theoretical- of cultures, races, and religions.
KIMSOOJA
A Wind Woman, 2003-2006
November 9, 2006 - January 13, 2007
Kimsooja:
A Wind Woman comprises a series of unique iris prints derived from large-scale film stills from her video A Wind Woman, 2003. The video was shot during a hillside drive in Honolulu, Hawaii. Here, she opened the camera shutter for an extended period of time, enhancing the light exposure and allowing the exterior world to flood into the pictorial field. In this body of work Kimsooja was interested particularly in the in-between space where the trees and the sky meet. This enabled her to transform realistic imagery into abstract paintings, and to continue her personal investigation into the blurring of categorical boundaries.
Kimsooja's attention to interstitial spaces can be traced to the start of her artistic career. In the early 1980's, her questioning of the canvas' surface initiated her 'sewing' practice in which she aimed to connect two pieces of fabric as a way to generate relationships between disparate parts. She further developed this approach in other projects, such as Cities on the Move, 1997-a literal patchwork of her memories. In A Needle Woman, 1999-2001 and 2005, Kimsooja continues this line of inquiry by examining various borders/boundaries -actual and theoretical- of cultures, races, and religions.