Lines of Haan - Qri Kim Solo Exhibition
Qri Kim, a South Korea-born visual artist who works in Edinburgh, is holding a Solo Exhibiton at Whitespace from 3rd to 5th March.
About Lines of Haan - Qri Kim Solo Exhibition
Qri is a South Korea-born visual artist and works in Edinburgh.
Opening night 4th March at 5pm
Her practice and research concerns social injustice and a critical analysis of social beliefs and traditions. Especially, she focuses on the underestimated Korean women’s Haan within Korean society. The term Haan is a Korean conventional way of conveying multiple sentiments such as hurt, despair, resentment, and loss, of an individual over a long period of time. It is an indispensable concept to understand what the women’s personal aspirations are and what makes the women frustrated.
Korean monochrome is one representation of not only K-culture but also Korean modern art, choosing to fill the canvas with mono-colour, using the artists’ repetitive actions. However, the monochrome artist’s repetitive actions could not embrace and represent the 1970’s Korean labourers that sustained the Korean identity, called ‘Koreanness’, and Korean economy. Qri challenges this limitation through her expression of Korean Monochrome, integrating the working class whose value was often overlooked by their society, through the complex repetitive process of cutting, pasting, erasing, and scratching. Her Fiat-Lux series (2020-ongoing) intends to highlight the fact that ‘Koreanness’ was not built in a day, but that there was uncountable labourers’ sacrifice behind it.
Thread is central to express her intention; all her thread is from South Korea manufacturers and made by Korean labourers. Particularly, in the series of Fiat-Lux, Qri carefully chooses and uses the plastic threads which were discovered at the Korean traditional fabric markets in central Seoul that drove the Korean economy in the 1970s. Fiat-Lux is inspired by traditional Korean women’s patchwork, Jo-Gak-Bo, and represents repetition, labour, femininity, and slowness.
Qri’s Korean monochrome practice began in 2014 and has explored not only canvas but also three-dimensional surfaces. Becoming Flower (2014) and Piggy Bank Project (2015) lent her practice to represent not only individual’s aspirations but also the sense of isolation, which were triggered by capitalism. She experienced the turning point of her artworld during Covid-19 lockdown in the UK. This experience made her further consider the impact and relationship of social systems on individuals and their societies.
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