The fresh animalistic languages by Kim Kyeong Ja



Woman singing in a pretty, cute , and yet smart pose , or pig riding a roller blade wearing funny mask of human, man squatting down and watching television in a dog- mask . The colorful sculptures of Kim Kyeong Ja are dainty and anima listic .
After a long absence from the road as a sculptress , she came back as the artist with a sense of the expression that i s cheerful by the method that is different from a language of 80 ’s.  
She presented the curious work s like a narrative with many cheer ful elements of sculpture . Like man and woman singing , man and woman in different expressio ns standing on a high building, all her pieces are like prop and yet the humorous sculptures of color. In addition, the materials are also out of the academic bronze casting and show the variety ; a synthetic re sin, stainless steel, and iron . It is more a typical pop-art style than a traditional sculpture style by the pictorial expression with modern colors added to .
As a female artist w ho had a deep interest in essential expression of human , she drew attention from the early age to the representation of human existence.
In her recent works, s he who was sensitive to a role and communication of the art with the public opens the horizon of free imagination based on warmth and humanity . Th e imagination between conflict, anguish, hopes and dreams of people in life .
It is not so far from the fundamental theme that she was pursu ing. However freedom, dream, travel , and curiosit y are the feelings induced from the usual life.
Especially these works are the pretty three-dimensional casts in which the animal images were u sed as metaphors for her inner feelings. Most style of the works are as simple as a short answer like “One fine day ” “Oh, Dandelion ” “Good morning ”. S ome are made up as an animal . The animal seem s to be referring to th e exposed person's feelings , but adversely it is also so to speak the animal wearing a person -mask.
Indeed, t his Janus-like expression invites us to read the intentions of Kim ’s work.  
She doesn ’t crop out clearly, but these allegories and the empathy are interpreted as the intention that is to bring about a sort of symbolism in the background of internal expression. At the same time, these intensive snapshot-style works which Kim Kyeong Ja shows generally form a omitted message like an imperative.
T he message not as a narrative mixed with the other but as an exclusive gesture and more comprehensive world of imagination happens in the panorama of a small life . I n other word, the artist induces another aspect of men in animal masks through a single image rather than a complicated constitution. This is the scenery of a very ordinary room in a family house. In that concise language, it is felt the artist ’s satirical view and the cynical feeling about popular men watching television.
The artist compares a figure of these conventional men to a face of an animal and it appears as an incarnation of men in double masks not a normal figure. In feelings of the artist, the conflicts of women in our times as confronting men are described.
It is her characteristic and charm to demonstrate resolutely the trace of di fferent reflections and thoughts, selfish attitudes, and desire for authority of men through the eyes of a female artist .
When it comes to think that it is not only the views and expression of Kim Kyeong Ja raised only in her life but that many women also hold these problems, the weight of her message is doubled.
The essential viewpoint of overlooking the world and the reality resembles a lot the emotions of the sculptress Niki de Saint Phalle . Like she also confessed “My job is always an expression of my problem then was how to overcome it." , it is because Kim Gyeong Ja overcame her own emotions by shipping in an expression of an animal or a roar of men riding a board.
Her regard that replaces the scenes of everyday lives by a fresh and sensual language persuades and touches us by gently delivering a poetic beauty of compression and simplicity.
The embarrassing scene of man and woman trapped in a high building like a top roof may be an intimate situation of common people. Yet the artist focuses on the allegory presenting her personal story in literary way. The fatal s ituation and scenery as a clown walks on a horizontal stand , she walks with having covered the circumstances that are her internal complexity. These expressions approach with the sympathy containing the mind of a true artist because they are pure and not hypocritical.
It seems to be a small, warm bandage of her that is slowly becoming catharsis from the scenery and wound of her life.
She eventually came out of cold and shivering chamber after a long absence, and came to a cold and gossipy open space of the art. Like Niki de Saint Phalle, I wish her hopes and ambitions are not to conquer her outskirts and internal negative force but to constantly defy that force and eventually befr iend with the force of darkness, and that thus the pieces of her fragmented life become a fresh and dainty language and everybody accompanies a trip and free dream that she released.


Kim Jong-Keun - Art Critic