Korean Artist Project: kim, Ho Deuk is one of 21 outstanding artists selected by the Korean Artist Project. The Korean Artist Project is a global online website which aims to promote Korean contemporary artists hosted by the Ministy of Culture, Sports, and Tourism of Korea and organized by the Korean Art Museum Association. KAP has launched with a three-year plan spanning from 2011 to 2013. At the first step in 2011, art professionals and critics selected 21 artists, and curators from 13 private art museums organized their virtual solo exhibitions. KAP would love to introduce a diverse spectrum of Korean contemporary art to the global audience. Through these efforts, KAP will play a significant role in the promotion and development of Korean contemporary art. Also, the KAP will become a useful platform, which will serve as a stepping-stone to create cultural exchange and global networks with diverse art people. Please visit www.koreanartistproject.com
Critic's Note: The Pinnacle of Ultimate Freedom Attained Through Constant Self-denial
Kim’s work is expanding in scope in pursuit of further expressive methodologies.
Waterfall paintings by Kim Ho-deuk place on display a state of being “on the point of landing a blow with one’s fist under the rib of great foolishness” (Linji Lu). This is a state through which a ground can reveal a figure, as in the figure-ground relationships of Gestalt psychology, or in the tactics of “looking one way and rowing another” (Tongdian). Thus, to borrow Kim’s own words, it is the state of landing a punch under the rib of great foolishness “all of sudden,” or without warning.
According to him, Kim Ho-deuk was once nearly drinking himself to death. Anyone who has fallen into a state of deep alcoholic ecstasy knows the feeling. There, no sense of specific time and space exists; here is there and there is here; yesterday resembles today and today resembles tomorrow. Upon obtaining such freedom from obstacles, a state is achieved through which one is drawn to nothing and does not discriminate between anything. That is why Kim’s statement, that he has become fond of the word “now,” carries such conviction. To quote from the Linji Lu again, this state is one of reaching a spiritual realm where “there is neither Buddha nor the law in or out of the mundane world.” Kim’s paintings aim for such a realm. It is an entirely separate world, both methodologically and qualitatively, from that of minimal painting in the West, which has encountered a blank canvas after passing through a process of dialectical abstraction of images.
(This is an excerpt from an original text.)
Artist's Education: Seoul National University. Korea. B.F.A., M.F.A., Painting.
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