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WORKS
2019-
  1. A Walk
  2. A Garden
  3. Full Bloom
  4. A Pond
  5. Dreaming at the Beach
  6. My Father
  7. My Father’s Dancing Legs
  8. Bed Fight at 10 
  9. Documentation [30.11.2020-11.2.2021] On Potato
  10. I Want to Understand You and I Forgive You
  11. I Can’t Find My Home
  12. Home Dinner [babsang 밥상]
  13. Spiders in My Bed
  14. Toastbook 
  15. My Quiet Room



PROJECTS
2020-
  1. Dancing Leg
  2. In My Dreams
  3. How to Bake a Cake



EXPERIENCES
2023-
  1. Five Elements, London, UK
  2. Transformation Project, Averill Park, NY, US
  3. Arts Letters and Numbers, Averill Park, NY, US
  4. Aesthetics of Bliss, London, UK





PRESS
2023-
  1. CBS6 Albany, 2023 - 

    “Nopiates committee's transformation project sheds light on substance abuse disorder”








           
   Constant becoming. Accumulated mistakes.

       


                    A thing is not just what it is right now, but also what it withdraws from us, what it could be, and what it might become.





 

Hyunjee Kim is a sculptor based in London, UK focusing on the process of making, resonating with Daoism and phenomenology. Kim ‘stops’ repeating the process at one point and watch the piece going on its new journey from that linear line. Her works withdraw from her as they belong to the larger unfolding of existence.

Using plaster, Kim creates something that wants to become something, something that chooses a path of becoming something new instead. Something new that is not new, but something that exists beyond our desire, dream, and fear. A belongingness that ties people together via our imaginations, individual expressions that differentiates how each of us perceive it. Her focus weighs on the process of ‘wandering’ and ‘walking’, drawing an intuitive map.

What she was making is not just what it used to be anymore, and that makes us foresee the existence beyond her perception at present and eventually starting to believe on what it could be, and what it might become. Her pieces contain a dynamic of endless possibilities and potentials that might over time change.



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KIM HYUNJEE — Spaciality and Solidarity


                                                                  




Constant becoming. Accumulated mistakes.



‘A thing is not just what it is right now, but also what it withdraws from us, what it could be, and what it might become.’ - “Object-Oriented Ontology” by Graham Harman




Kim Hyun Jee is a sculptor focusing on the process of making, resonating with Daoism, Object-Orieinted Ontology and phenomenology. Kim “stops” repeating the process at one point, and participating in their becoming at the point where she experiences a withdrawal from the works. She realises that the works are now in a larger unfolding of existence.




Through the materiality, Kim creates something that wants to “become” something, but something that chooses a path of becoming something “new” instead. Something that exists beyond our desire, dream, and fear.

Her focus weighs on the process of “wandering”  and “walking”, drawing an intuitive map. This could be portrayed as a process of constructing an abstract psychogeographic space; her pieces are placial knots that draws her into condensed emotions and about what those could be to her and other people. What she is creating is a belongingness that ties people together; a map of a collective of psychogeographically articulated responses and experiences. The way Kim interacts with the materiality would be the response to the epochs of her abstract space.  

What she was making is not just what it used to be anymore, and that leads us to foresee the existence beyond her perception at present and eventually starting to believe on what it could be, and what it might become. Her pieces contain a dynamic of endless possibilities and potentials that might over time change.




Through exploration of perception, materiality, and transformation, Kim Hyun Jee seeks to create sculptural works that embody process and becoming, rather than fixed forms.

 


Kim Hyunjee lives and works in London, UK.








김현지는 도가(道家)사상, 객체지향 존재론(Object-Oriented Ontology), 그리고 현상학의 사유와 공명하며, ‘만드는 과정’ 그 자체에 주목하는 조각가입니다. 그녀는 반복적 제작을 어느 순간 멈추고, 작업이 스스로 존재로 ‘되어가는(becoming)’ 과정에 참여합니다. 그 지점은 작가로부터 물러나 더 큰 존재의 흐름 속으로 나아가는 순간이며, 그녀는 그 이탈과 이행을 조용히 바라봅니다.

작가는 물질성과의 관계를 통해, 무엇인가 되기를 갈망하면서도 기존의 의미 체계에서 벗어나 인간의 욕망, 꿈, 두려움을 넘어서는 ‘새로운 무엇’이 되기를 선택하는 존재를 만들어냅니다.

그녀의 작업은 특정한 장소를 향하지 않습니다. 대신, ‘걷기’와 ‘헤매임’ 이라는 과정에 주목하며 직관적인 감정의 지도를 그려냅니다. 이는 추상적인 심리-지리적 공간(abstract psychogeographic space)을 구축하는 방식으로 드러나며, 그녀의 조각은 응축된 감정의 매듭, 즉 *장소적 매듭(placial knots)*으로 기능합니다. 그 매듭은 작가 자신뿐 아니라 타인의 상상과 기억, 감각을 끌어들이며, 개인적이면서도 집단적인 심리지리적 반응과 경험의 지도로 엮입니다.

그녀가 만든 것들은 더 이상 ‘과거의 그것’이 아닙니다. 작가는 그것들이 현재의 인식을 넘어, 무엇이 될 수 있을지에 대한 믿음을 품게 합니다. 그렇게 그녀의 작업은 시간이 흐름에 따라 끊임없이 변화할 수 있는 가능성과 잠재력을 담아냅니다.

지각, 물질성, 그리고 변형에 대한 탐구를 통해 김현지 작가는 고정된 형태가 아닌, 과정과 되어감(becoming)을 담아낸 조각 작업을 지향합니다.




ABSTRACTION AND EMPIRICAL ILLUSTRATION



  1. Nature does not insist on itself, it unfolds effortlessly, a dance of presence and absence, a constant becoming.
    “Absence” by Byung Chul Han
  2. We never experience a thing in its entirety-objects always hold something back, withdrawing from direct access.
        “The Quadruple Object” by Graham Harman

3. The real world is not just the one we see; reality is a layered, withdrawn field where things exist beyond our perception.
“The Democracy of Objects” by  Levi Bryant