Metaphoric Language through Repetition

Regardless of the reality of the causal relationship, most of our life consists of the group of entangled enigma which has no causal relationship.

Nevertheless, we tend to comprehend our lives formally as we read novels comprising six principles. The artist, Kim, Miro elicits sympathy from the viewer by reflecting these emotional estrangement and ambiguities to be undergone in everyday life on the images of ordinary animals and plants. Kim's work has figurative characteristic of repetition and overlapping by printing diverse images of animals and plants which are made through etching and lithograph, and printing another over.

The artist creates her own unique work through collage which cuts figures of the plants and animals, out of the overlapped images by printing.

Then, she rearranges and reorganizes them visually on the work. It resembles the process of deconstruction and reorganization which brings the emotion at the very moment in life into the images and creates a single sentence system expressed by language. In this process, the artist's diverse emotions accumulated through her personal repetitive experiences are metaphorically symbolized by the images of overlapped animals and plants. Poses and characteristic patterns of various animals and plants, as well as the background in her work are replaced by 'psychological myself' which speak for the subjective feeling induced by the surroundings around the artist. In <Expanded Collage> and <Shriveled Collage>, the artist reflects her psychological condition on a hedgehog, reiterating a buoyant and a contracted mood. In order to express it, the artist printed many of hedgehog images by lithography, cut the spines off, and extend one to the canvas and contract another to the hedgehog. Meanwhile, in <Cutting and Attaching the dog-pattern>, the crouching brindled dog is established as the subject of repression and restriction against the sluggish artist herself. However, the artist draws out the dog's distinguishing brindled patterns, rearranges them on the canvas and thereby exposes it as the component disclosing longing and eager desire for freedom behind it. Watching the image showing the ego through the whole or partial image of the object, viewers feel the energy of desire behind the image instinct, that is, the power of instinct which seeks an exit rather than discover the self-restraint and consequential depression. The works of the artist provide viewers with the opportunities to inspire their imagination and think of what represses themselves. In other words, the works lead them viewers to direct self-embedment to the work, not the understanding of the artist's experiences. In her recent works, she concentrates more on the detailed and microscopic part such as the animal patterns or the distinguishing images. Thus, in the exhibition,

viewers will appreciate her own figurative experiment representing the relationship between the patterns and the figures in the creative and metaphoric expressions. - So Young Shin (Curator, PYO Gallery)