Ha Yeoun Kim


Contact, LinkedIn, Resume


Art  & Tech

Cutting edge technologies in art ++
  1. AR Language Learning
  2. Interactive VR
  3. Light Installation/Neon
  4. 3D Animation

Design

Project from NYC ++
  1. Re-Branding Project
  2. AI Concept Image Rendering
  3. Poster Design
  4. Package Design
  5. Website Design

Fine Arts

Interactive painting ++
  1. Visual Affirmation of Worries and Fears
  2. 22-23-24
  3. Safe Space
  4. Bottom line up at the shoulders, 15”(38cm)
  5. “Balance”  series
  6. “The Cycle of Consolation” series
  7. Deep Sigh



Learn more →

22 - 23 - 24 2020 - 2021, oil on canvas, 39" x 31” (100 cm x 80 cm) | Privately collected by Gallery Old&New (2022)
22-23-24, 2020 - 2021, oil on canvas, 39" x 31” (100 cm x 80 cm), Collection of Gallery Old&New © Ha Yeoun Kim 

Painting is such an intimate activity. Sometimes it’s someone’s prayer, sometimes it’s someone’s journey of therapy.

In this piece, Kim references a period of her young adulthood characterized by puzzling emotions and enriching experiences. The time when she turned 24 in Korea from being 23, yet when she was still 22 in America.

22 - 23- 24 with an AI generated extension © Ha Yeoun Kim 

At 22, Kim’s mind was riddled with anxiety over accusations of character flaws and young mistakes. The flashlight out of the frame of this piece beams out a pin light and orchestrates the overall proposition of the canvas, as if its accusing her of imperfections from far away.



A big fat man on the bottom left hand corner that occupies more than a quarter of the canvas, steals viewers sight at the first glance.
He is wearing a farmer’s hat (which commonly be read as a symbol of diligence and integrity in visual languages) while holding an ax. The mismatch of the items makes the viewer question the figure’s fidelity, and it becomes even more doubtful when they notice the foot replacing his hand.


The attention then shifts to a smaller figure next to the previous one. It appears that this figure is a young little boy, considering his size and the cap that he is wearing. He is pointing his finger that is almost as big as his head to the fat blocker. He seems to be arguing about something.


There is a bowling pin right behind of the boy, almost the same size with him and again, pointing at one another from the back.

Kim often uses bowling pin as a metaphor of anxiety. (ex. Visual Affirmation of Worries and Fears)




To look at the relations between the figures in a bigger picture, viewers can imagine how the little boy’s sight must be one-sighted and, for worse, completely blocked by the fat blocker’s back and the foot. It’s hard to take, unfortunately, that his complains and arguments are properly accepted.






But, it might be too early to make that statement.

The tip of the ax is about to burst the fat blocker’s belly is it gets any bigger.

Expressing a personal narrative through visual language is exhilarating. It allows for unabashed candor, free from concerns about deception or undesirable exposure often associated with verbal communication. In this regard, it shares similarities with prayer—a process that grants ample time for contemplation and unfailingly delivers insights, guiding one to the next step based on expressed thoughts.

Much like a therapeutic journey, the artwork titled "22-23-24" holds numerous untold stories that have profoundly impacted Kim. Artists wield the freedom to set limits on explanations, leaving certain aspects unexplored for the audience to relish in the joy of interpreting the visual analog crafted by the artist. The piece becomes a vessel for personal exploration, promising a rich tapestry of narratives waiting to be unfolded by those who engage with it.


Work Process

This painting is privately owned by Gallery Old&New, South Korea,
and is currently not available for commission.