Gim Duk Hoon: The Shape of Water

CHAPTER II  2022. 3. 11 - 4. 23

CHAPTER II YARD  2022. 5. 12 - 6. 25

Gim Duk Hoon, who has consistently presented a detailed depiction of diverse subject matter in graphite drawings, unveils nine pieces of his new Rose series completed during Chapter II Residency in the exhibition, The Shape of Water. It integrates Gim’s intensive research on one subject—rose and his investigation of its variation over a year. Hence, it shows a trajectory of how the artist has developed from the methodology of adopting impressive scenes of still-lifes or urban landscapes and of describing them by applying angles frequently observed in cinematography and aerial photography.  

Depending on the intensity and frequency of pressure he applies onto the paper surface, the broad spectrum from pale grey to black of his graphite colours establishes. Based on his long-term experience of employing the grey tone, he lets the targets of description be seen as a monotone whole looking like a stone rather than scattered fragments. Gim understands the entity as a Monolith; it implies that every object is a part of a massive totality and stands for existential equality. The perspective corresponds with his intended control of techniques and determined pursuit of homogeneity. By delicately manipulating the strength of his strokes on the microscopic bumps of pulp particles evenly spread over the surface, he attempts to not only enhance the three-dimensional depth of each image but prioritize the organic dynamics of every element of the work.

There are over twenty-five thousand species and cultivars of rose, and statistics show that more than two hundred new breeds are produced yearly. What he is interested in seems to be the ideal status of a rose in our conceptual realm; therefore, the paintings can be his homage to its symbolic significance rather than practical features such as specific kinds, habitats, colours and heterogeneous aspects.

Gim underlines that the target of his description is a secondary element inevitably delivering or reminding of a specific message by giving his drawings titles not relevant enough to their material or motif, such as 'Can We Talk’ or ‘You Know Nothing’. Instead of paying attention to its eye-catching yet ephemeral properties, his approach to maintaining the conceptual and philosophical meaning of the rose consequently satisfies the notion of Monoliths that Gim has persistently explored.