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Toronto
Canada

647 297 5530

Working primarily in mixed media, Christine Kim creates intricate paper cuttings and drawings, carving away the boundaries between drawing, sculpture, collage, and installation. She lives and works in Toronto. 

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christine kim

a bit frustrated today. I'm trying to draw myself out of this rut. I thought I had things figured out, but now I'm not sure. I think there are these separate interests that I want to combine into a more stronger statement.
about gas masks
I like the concealed face and the obliteration of identity in these masks. It is used to protect but they carry with them the threat of suffocation in worn improperly. Also I've been drawing gas masks worn by children during WWII. I like this pairing because children are fragile yet they must shield themselves. Wearing a gas mask suggests imminent danger. There is a constant threat and one must be guarded.
about veils
Again is the notion of concealing, obliterating, hiding. The veil is charged with politics and religion. If presented carelessly, it could be explosive. I'm interested mostly in Hawthorne's story of the Minister's Black Veil. He wrote this short story inspired by a man who accidentally killed his friend and wore a black veil for the rest of his life out of guilt and remorse. In Moody's memoir The Black Veil, he begins with a list of crimes the average person would commit in a lifetime. It varies from petty theft to adultery, murder, and rape. It's the matter of our crimes. This is the veil I'm interested in representing. The shadow that is cast upon the individual. The veil makes this shadow present, a physical manifestation. It makes the invisible visible.
about light and darkness
This has always been an interest of mine yet when thinking of veils, I stumbled into lace patterns as a possible visual path I could take. Then I thought of the patterns in churches and mosques. And realized that these patterns on veils, windows, and walls are about the architecture of light and darkness. Light in all religions represent the sacred and holy. Growing up Catholic, there was the rose window that was so dazzling. The rose window's origin came from the Roman oculus - a single hole on a rooftop that allowed a beam of light into the building. Catholic churches have the rose window and mosques have beautiful geometric patterns that perforate the walls. I love the idea of trying to perforate walls in order to let light in. I started a papercut based on a geometric design. I thought I'd do a series of these, but I realized how insane that would be.
about my process right now
I guess I should let my studio practice dictate my next move. I'm preparing a few illustrations for the square foot show and I have this week to complete three. I'm combining graphite figures with papercuts that resemble lace, fences, walls. It has potential.... I'm just not sure what will come of it.
I hope these ideas make more sense.