Bo Kyung Kim
Critique
Bo Kim makes paintings that embody placidity through a process of adding and subtracting from surface and materials. This acts as a physical manifestation of impermanence in Buddhism and the beauty of imperfection — values that come from the aesthetics of traditional Korean culture, and which lead to the pursuit of meditation.

She values the beauty of imperfection, which contains a meaning of respecting nature by accepting natural forms in Korean traditional culture. A state of imperfection proposes as a value the progressive search for a perfect, unreachable, state. Impermanence, an idea from Buddhism, states that nothing in this earth is ever free and everything always changes and alternates. She embraces the meaning of one dissolving into another through a perpetual process of cause and effect. The characteristics of incompleteness and decay complete the painting and it takes on as subject the notion of incompleteness, which evokes in the artist as the core spiritual practice of accepting impermanence.

Living within nature, she encounters its beauty everyday through collecting sands, rocks, leafs, and dusts. To keep the true state of beauty, with Hanji’s warmth and delicate texture, she seals the collected nature to keep in a precious manner. The act of sealing the collected nature is a daily practice of meditation, and each bookmark then becomes a daily record of her life to remember the moment of beauty she discovers everyday. The artist seeks to provide relaxing and serious moments within which both the viewer and herself can meditate and be introspective. Her work becomes a visual metaphor for her mind as it progressively searches for who she is, and thus achieves emotions such as serenity, relief, and peacefulness.