Today we’d like to introduce you to Kim Ryu.
Kim, please kick things off for us by telling us about yourself and your journey so far.
I was born in Seoul, South Korea but grew up in California. I experienced a dissonance in my identity being raised with traditional Korean values and etiquette but growing up in an individualistic society. I think I released that pressure by drawing and creating some kind of fantasy or escape. Ever since I was a child, I wrote my own stories and characters and created graphic novels for my own enjoyment. My love for drawing people, stories, and environments naturally evolved into my passion for illustration and storytelling. During my fourth term at the Art Center College of Design, I was contacted by my first client, The New York Times, and I continued to expand my client list from there. Since graduating, I’ve worked as a freelance illustrator, painter, and designer.
Can you give our readers some background on your art?
My work is inspired by Korean folk art, Indian miniature paintings, traditional celadon pottery, and graphic novels. It can be applied to fashion, sculpture, editorial, gallery, and publishing. I work with acrylics, collaged dried paint, colored pencils, and ink. I favor acrylics because the quick drying time allows me to express not only the qualities of watercolor washes but also opaque, thick coats of paint. When I work digitally on my iPad, I use scans of painted textures or brushes that I create, so my drawings don’t lose their hand-drawn quality.
The theme of my work is influenced by my perceptions of growing up as a Korean American and the tension between the two cultures within my identity. The figures rarely have expression or facial features so the conversation is less about the “person” and instead about the space they exist in. I intentionally place objects that conventionally exist indoors — urns, tables, vases — in a verdant, surreal landscape. It generates a conversation of do the figures lack a home? Are they in transition? Are they struggling or thriving in their environment? My work is intentionally ambiguous and the objects within each piece are intentional and symbolic. I hope people can look at my work and use it to reflect something about themselves or use it as a temporary escape to a dream-like world.
In your view, what is the biggest issue artists have to deal with?
From my own experience, I think the biggest challenge is maintaining a healthy balance between generating work and creating time for your own personal exploration. It feels like there’s never enough time in the day to make work to pay the bills, dedicate the time to create work for yourself, and on top of that to advertise your work through social media. The trickiest part is the expectation to have an active presence on social media. It’s a great way for art directors and other creatives to find your work, but the “virality” and speed of it is something that artists today have to figure out how to manage on top of their daily grind. I definitely struggle with this today, but I’ve learned to be disciplined in your scheduling and to wholeheartedly do the best you can.
What’s the best way for someone to check out your work and provide support?
People can see my work by following my Instagram account (@kim.ryu) or by visiting my website (kimryustudio.com). On Instagram, I post the latest publications I’m in, where I find inspiration, and important announcements of shows or fairs I plan to be a part of. I’m currently working on launching an online shop to purchase my “No Name” enamel pins, apparel, prints, and more so definitely be on the lookout for that. For now, I’m accepting purchases through Instagram DMs or by email contact ([email protected]) at the moment.
Contact Info:
- Website: kimryustudio.com
- Email: [email protected]
- Instagram: @kim.ryu
Image Credit:
Kim Ryu
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