JEONGBUM KIM
Jeongbum KIM
Jeongbum KIM was born in 1962. Seoul, Korea. He received his B.F.A and M.F.A from Hongik University, Seoul, Korea. He was invitation student at Ecole National Superieure des Beaux-arts de Paris, France until 3 years.
He underwent many solo exhibitions in Korea, France, Italy and among the recent are 17th <Blue Head> in Tongin Gallery in Seoul, Korea in 2017.
He is an enthusiastic young artist and participates in many group exhibition as well. The example is 2006 International Architectural Ceramic Exhibition in Clayarch Gimhae Museum, Gimhea, Korea. Exhibition Montparnasse museum in Paris 2010, France and participated Expression of the Time-"Hurts and Healing" Exhibition in Artcenter in Seoul, Korea 2001. He attended many workshops like Jinro International Ceramic Art Workshop in Seoul 1996, Ichon International Ceramic Workshop in Korea 2001, "Continent ceramic (Korea, Japan)" Ceramic Workshop. Guebwiller, France in 2007.
He was visiting artist in Archi Bray Foundation, Montana, U.S.A in 1997 and planned the 2001 Gusan Art Project Exhibition,"Ceramics is our specialty" Exhibition, ARA artcenter, Seoul, Korea in 2015. His works are housed Clayarch Gimhae Museum, Korea, National Museum of Contemporary Art, Seoul, Korea. Busan Museum of Art, Busan, Korea. Archi Bray Foundation, Montana, U.S.A and Tong-In gallery, Seoul, Bank of HANA Training Insitute(Korea).
One of the merits of the works of Jeongbum Kim is that most of his images are adopted from similarity and resemblance. This gives some sort 'fun' to the viewers. This is based on the tension of contents and forms which show something completely reverse beyond the similarity of the forms and dissimilarity of the contents. Thus, we can say that what Jeongbum Kim shows us of (or what is seen by him) is a kind of 'agony'. Fundamentally, he says that his agony shown in his art is based on philosophy and the thought that other issues such as whether the ceramic art should continue to be part of the modern art or should break away from it would be a consequence of the fundamental agony.
It looks that his agony started from his wishes to hold the stories about routines and 'trivial' lives (not a life as a 'huge story' but as a life that maintains and restores) in his works. This means that he struggles to get out of the power of the contemporary art, the sun, moon and their fruits, and heavy theories such as dialectic, and the formalist attitude of the contemporary art that is trying to substitute the contents of the work into a tool of a form.
-Art Studies Youngmin Kim
