Today we’d like to introduce you to Chloe Jeongmyo Kim.
Every artist has a unique story. Can you briefly walk us through yours?
I am a Korean, immigrated to the United States in 2012, and lived as a nomad for several years before planting my roots in southern California. I was blessed to have a myriad of experiences living in many different countries and cities including Seoul, Washington D.C., New York, Hong Kong, Michigan, and Los Angeles. Although wildly exciting, I felt tremendous turmoil adjusting and readjusting to different cultures and lifestyles, knowing that my temporary stay would be short-lived. But through my journey, I’ve had rays of sunlight beaming through my Korean cultural background allowing me to see the world through vivid lenses.
Since I graduated in 2019 and permanently settled in Orange County, I continue vigilantly to pursue my fine art career. Fine art is my pride and passion, my main and primary career path. I also began a toy side business two years ago which as been an inspiration also in my artwork. I plan to continue pursuing my entrepreneurial goals as an artist and a toy business owner. And this fresh perspective of unique experience became the motive of my recent artwork.
Please tell us about your artwork.
By the time when I started MFA, I investigated the intercultural built environment from an immigrant point of view. And my practice became more focused on exploring the mundane sense among the diverse culture of Orange County, suburbia, responding from the various environments that surround me. Orange County, to me, has a fascinating mixture of unfamiliarity and brings about eccentric feelings that convey industrialization with a buttery flavor. It also has an intangible air of rigidity from frequently found architecture, including short buildings painted in a neutral color, the cookie-cutter houses clustered together on planned-city plot of land, and the franchise stores and small family-owned shops sprinkled along the suburban street. I also actively interact with a strong sense of disorientation during the “magic hour” of California, where I am dazzled by the sunlight bouncing off the rectilinear infrastructures.
While preparing for my MFA thesis show, my new artistic inspiration blossomed during an unexpected toy business trip in China, when I witnessed firsthand the big cultural disparity between Orange County peaceful suburbia and the bustling remote manufacturing area in Guangzhou, China. I saw new industrial patterns when witnessing a manual labor world, a truly life-changing realization. Even in the most dehumanized mechanical, mass production line, I found micro-scale traces signifying human touches from worker’s tools that resonate with imperfections and expediency, creating a fantastic visual narrative. While composedly “aesthetic editorializing” these pleasant elements, I found a poetic relationship between color and composition in the real scene, bringing me a sense of kinship and solace. I really want to express my intimate relationship with the flavorful space that I saw, which had peripheral and superb landscaping and infrastructure that was visually buttery and tastefully industrial. So, the way that this my manifested into my artwork is the application of various industrial colors on a synthetic and transparent plastic. I apply color on the transparent photographic material surface and squeeze a very thin layer such that light can penetrate through, giving the painting and photographs a spatial characteristic. This characteristic allows me to break free from the enclosed suffocating place. It is this freedom that I find beauty in.
We often hear from artists that being an artist can be lonely. Any advice for those looking to connect with other artists?
First and foremost, the art world is not easy, so artists have to make an intentional effort to find common ground and connect with the artist community. I think an ideal place for artists would be at other artist’s opening reception party. I oftentimes check the events through websites, Curate LA, Facebook, and Instagram. I try to go to my friends’ openings to support them, as many as I possibly can. Even today, I drove all the way up to LA and met other members of the artist community at the group show event.
I am not relatively a social person, in fact, I am more introverted. Getting along with people is almost like pulling teeth for me and I always want to hide and be alone in my cozy studio all the time. Sometimes I think… what’s the point? But then, I realize that isolation is very dangerous for artists’ lives. Since we decided on our lifelong work, living as an artist, we need to step forward to make it happen. Since leaving the school artist community, we have to combat isolation and find new communities and make legitimate relationships outside of the comfort box. Staying connected with others takes a lot of time and effort and many fall away, but, I strongly believe that work socials would certainly be a worthwhile thing to do.
How or where can people see your work? How can people support your work?
Currently, I am fortunate to have had a solo show, “PLASTICKER” at the CXU Gallery in LA last week, and I am preparing for several other future shows and Art fairs. My website (www.chloejmkim.com) and the Instagram page (@chloej_kim) would be the best way to see and check upcoming shows and events.
Contact Info:
- Address: 10 Topeka, Irvine, CA 92604
- Website: www.chloejmkim.com
- Phone: 201-417-4514
- Email: [email protected]
- Instagram: chloej_kim
Image Credit:
Pooprohibit, Detailed view, 2019, Digital print, vinyl on plexiglass, Entire size 65 x 24 x 24 inches
From the Rough Site, Detailed view, 2018, Acrylic painting, vinyl, film on plexiglass, 8 x 11 x 2 inches
Mom, I made Flowers, 2019, Acrylic painting, digital Print, vinyl on Film, 11.5 x 13 inches
Sticker Sculpture #1, Installation view, 2019, Digital print on vinyl, 39 x 42 inches
“THERE NOW HERE THEN”, Installation view, 2019, The Helen and Abraham Bolsky Gallery, Los Angeles, CA
“THERE NOW HERE THEN”, Installation view, 2019, The Helen and Abraham Bolsky Gallery, Los Angeles, CA
Edge Control, 2019, Studio view, Acrylic painting, digital print, vinyl on plexiglass, 18 x 21 inches
Flavorful Handle, Installation view, 2019, Acrylic painting, digital print, vinyl, tapes on plexiglass, 43.5 x 30 inches
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