WHAT I HAVE SEEN
CITY LANDSCAPE
CHUNKY TOTEM SERIES
FAKE SAGA
THE WEATHER FORECASTING STONE
YET TO BE FILED
DRAWINGS
LIST OF SELF-DEVELOPED WEBSITE PROJECTS
EXHIBITION VIEW
PASTRY(with HJ Keem, JY Park)
TEXT
ESSAY
CV
toomanysulkies@gmail.com
TEXT
Nov, 2021
Let's imagine a pocket filled with air. The sound of the wind can be heard as the air is being pumped into it. The pocket gradually and rapidly inflates. The enlarged pocket displaces what appears to be an empty space or is filled with different air. The air inside the pocket and the air outside are separated by a thin boundary. The inflated air pocket makes contact, gets softly engulfed, and encompasses it. The expansion beyond a certain limit of the airbag visualizes the space between the car and the driver, precisely corresponding to the volume of the airbag.
Kim Sulki's sculptures are derived from two-dimensional planes. Layers of sections overlap to create the outer shape, or different media are combined with the plane's material. The materials for one line are densely and intricately adhered to each other. The frequently used metal components transform the plane into three dimensions, revolving around an axis. Kim Sulki perceives the surfaces where sculptures come into contact with the external world as another layer, defining them as the boundary between filled and empty space. This division results in positive and negative spaces, stemming from the method of constructing the sculpture based on fixed layers. The fixed layers act as catalysts, variably transitioning the area perceived as a sculpture.
Keem Heejoo's work continuously seeks its form. The principle or structure of screen printing involves separation. Ink is pushed from one side to another on individual plates to create a surface. Ink leaves traces with each step taken. Current motion leaves traces of the past, while the space ahead remains empty. The overlapping in Oriental painting is a result of layering. A performative process accompanies collecting and confining colors. From printing plates to images and from one shape to another, a continuous time lag occurs. This series of processes becomes more ambiguous on the absorptive surface called 'Jangji.'
In the Air-bag exhibition, Keem Heejoo bestows the ground to previously unused layers of data. Hidden and deleted layers gain individual presence through this exhibition. Derived images thrive on the gallery's wall and protruding frames within the exhibition space.
Kim Sulki and Keem Heejoo of Pastry conduct an experiment in working and communicating through the project [AJAX] in the exhibition Air-bag. Drawing inspiration from AJAX (Asynchronous Javascript And Xml) in web development communication technology, [AJAX (Asynchronous Joint And eXchange)] sees Kim Sulki and Keem Heejoo asynchronously create their frames and commission work for each other's frames. The two artists perform both the roles of the client and the worker. They send proposals to each other as clients (at arbitrary transmission intervals) and, as workers, fill in their variables by finding variable areas in the client's protocol. The commissioned work, under minimal conditions set by each other, is transmitted back to the client, and the frame and the work are combined. Frames and works based on their respective protocols conclude in the format of an exhibition.
In the protocol of fixed layers, they discover the hidden variable layers. The operational conditions and methods of the latent layers are distinct for each person. Furthermore, they act as anomalies in their works.