Min Kim: Exploring Sublimity in Urban Texture and Bodily Fluidity

February 2024

︎

ABOUT ARTIST

Min Kim (김경민), a photographer based in London and Seoul, centres her artistic exploration around the human experience, challenging traditional viewpoints through the creation of mysterious images.

She is dedicated to capturing the inherent ambiguity of everyday life, encouraging deep self-reflection. Her creative process involves observing others, questioning her identity, and exploring the emotions triggered by the gaze upon others. Approaching subjects from diverse perspectives, she aims to engage viewers impartially.

Min intricately weaves choreographed movements inspired by performative art, skilfully balancing control and spontaneity. Her work aims to invite viewers to explore the intricate details of human life and how their perception constantly changes.

Website： https://minkim.studio
Instagram：i.minkim

‘In Between’

The Bhavan Gallery in London previously hosted an intriguing solo exhibition by South Korean photographer Min Kim, titled "In Between." This exhibition offers a nuanced exploration of the interaction between urban environments and human movements, divided into three distinct chapters that guide visitors through various aspects of everyday life.

Born in South Korea, Min Kim currently divides her time between London and Seoul, bringing a unique perspective to her work that reflects her experiences navigating urban spaces. "In Between" goes beyond a mere depiction of personal experiences, delving into deeper reflections on the textures of city life and the subtleties of human movement. Through her photographs, Min captures fleeting moments of urban existence, elevating the ordinary scenes into thought-provoking vignettes.

Installation View of exhibition

One photograph within the exhibit is presented on fabric, hanging upon the wall and cascading over a pristine white plaster pedestal. Behind it, on the wall, an unidentified man sits solitarily upon the edge of a bed, his actions deliberate as he pours weed. It seems as though he is trying to calm himself down. In stark contrast, an adjacent image portrays another figure assuming a contemplative pose reminiscent of Rodin's ‘The Thinker’. Nearby, a separate series of images hint at the silhouette of yet another subject, suggesting either the weariness of dawn or the aimlessness of early morning. These works, along with others in the collection, silently converse through the language of the body, seemingly isolated yet engaged in a subtle exchange of stories within the exhibition space. Thus, within Min's oeuvre, viewers encounter not only mesmerizing urban architectural compositions but also her keen ability to capture the fleeting nuances of bodily expression, all the while revealing the unfolding narrative of the cityscape behind her subjects' gestures.

Installation View of exhibition

In these photographic scenes, facial features are often blurred, placing emphasis squarely on the language of the body. Does the artist intend for viewers to envision themselves within the frames? The answer seems evident. Inviting viewers to become active participants in her visual narrative, she encourages them to project their own sentiments onto her photographs. As visitors navigate the exhibition space, they encounter Min's work transcending mere visual representation, delving deep into the realm of sensory experience. Each image serves as a portal, transporting viewers into a timeless realm, prompting contemplation of the fleeting nuances of urban life.

from the exhibition ‘In Between’

P: Can you explain your criteria for selecting the works in the exhibition 'In Between'?

I selected works for the 'In Between' exhibition based on their alignment with the exhibition's intention. I aimed to showcase pieces that resonate with the exhibition's theme and engage the audience. The chosen works emphasise movement, certain direction towards one to another, and an appealing visual approach.

P: How have you designed the exhibition space to enhance the viewer experience, and what specific elements have you incorporated to guide viewers through it?

I paid careful attention to the layout and composition. The exhibition space is divided into three main chapters, organised by structure, narrative, and a series of sequential photographs. I aimed to create a space that highlights the synergy between the building structure and human organicity. It unfolds a narrative in more intimate, personal spaces and showcases a series of continuous performance images to capture moments of happening.

P: We noticed one piece in your exhibition involves naturally hanging fabric that obscures its full view. Could you provide insight into the concept behind this particular photograph?

For this exhibition, I wanted to explore three-dimensional installations rather than flat compositions. The overlapping of two-dimensional and three-dimensional elements is quite striking, symbolically representing the layers of narratives. The use of naturally hanging fabric adds a unique dimension to the visual experience, creating intrigue and prompting viewers to explore the obscured details.

P: From your earlier project "Behind Story" to your current work, your photography seems to prioritize body language over facial expressions. Was this intentional, and if so, what motivated this stylistic choice?

I hope people viewing my exhibitions or works interpret them based on their experiences. Accordingly, I intentionally chose to present my work in a slightly indirect manner, preferring to show images that are not overly explicit in showcasing faces. The intention is to encourage viewers to interpret the artwork through their imagination, rather than presenting clear and straightforward photographs.

from the exhibition ‘In Between’

P: How do you believe the body communicates emotions, and what initially sparked your interest in exploring this theme?

I believe that the body is a powerful tool for expressing emotions through movement. Every gesture, posture, and motion can convey a unique emotional story. My interest in exploring this theme initially sparked from the fascination with the richness of non-verbal communication. I find that by prioritising body language in photography, I am able to capture the essence of emotions in a more dynamic way, allowing viewers to connect with the raw and unspoken aspects of the human experience.

P: In your opinion, how significant are models in shaping the narrative of your photography? How do you select models to convey your intended narrative in your photography?

So far, I have mostly worked with people I know. I delve into their stories and some personal aspects, discussing narratives before shooting. I prefer to work in spaces familiar to them, as it helps avoid stiffness in front of the camera, allowing for more authentic expressions. It's easier to achieve a natural and realistic portrayal when the models feel at ease and unrestrained during the shoot.

from the exhibition ‘In Between’

P: How has your experience studying photography in London influenced your interpretation of 'anonymous urban environments' in your work? Do different urban settings evoke different creative responses?

Highlighting the urban characteristics inherent in London, the blend of old Victorian-era buildings with more recently constructed structures, and the integration of brutalist architecture have been significant sources of inspiration for me. The shapes of the building structures and the positioning of models(individuals in front of camera) contribute greatly to creating interesting compositions that captivate my interest and serve as a source of inspiration.

P: Do you have any plans to return to Korea for future creative projects? Are there specific topics you hope to undertake?

I plan to spend this upcoming spring in Korea, and I would like to work on projects related to the distinctive structures of traditional Korean buildings and modern contemporary architecture. Exploring the interplay between these architectural elements and incorporating them into the context of human figures is something I'm eager to delve into.

from the exhibition ‘In Between’

P: Your photography often captures fleeting, subtle moments in everyday life and frequently depicts sequences of actions. So how do you relate to Henri Cartier-Bresson's notion of the "decisive moment"? Do you agree with him?

Absolutely, while my focus is primarily on the movement of the body, I believe in the power of capturing those fleeting, subtle moments in everyday life that reveal a story within a fraction of a second.

I value the spontaneity and serendipity of these moments, where the perfect alignment of elements creates a visually compelling narrative. The sequences of actions I depict in my photography aim to freeze those decisive moments, allowing viewers to experience the emotion and energy inherent in each fleeting instance.

from the exhibition ‘In Between’

P: Your subjects often appear immersed in solitude, as if engaged in self-contemplation. Do you actively guide your subjects to evoke specific emotions or states during the shoot?

In the beginning, I am trying to make an effort to establish a certain level of communication before the photoshoot by discussing the overall story and narrative. I inquire about their thoughts on the concept and how it relates to their personal experiences. While I don't believe I can intentionally direct specific emotions for each individual, I can guide their movement and flow during the shoot.

from the exhibition ‘In Between’

P: What emotional responses do you hope viewers will experience when viewing your photographs?

I aspire for viewers to engage with my photographs on a deep emotional level, allowing them to resonate with the images through the lens of their own distinct personal experiences. To foster this connection, I deliberately infuse ambiguity into my work, encouraging a subjective interpretation that invites viewers to project their emotions onto the narrative. By creating a space for individual reflection and interpretation, I hope to evoke a range of emotions and provoke a sense of introspection, prompting viewers to explore the layers of meaning within each photograph.

P: Besides photography, do you explore other forms of creative expression? Are there any artistic mediums you aspire to explore further, such as videography?

I have a keen interest in artistic expressions beyond photography, particularly in creating drawings and sculptures inspired by human forms. To draw inspiration, I often visit renowned sculpture exhibitions in London, and a recent exhibition by Antony Gormley at White Cube left a lasting impression on me. While delving into these mediums may be a future endeavour, I hope to collaborate with artists working in these forms or participate in group exhibitions based on these mediums.

P: Are there any new projects currently in progress? Could you provide us with an overview?

Currently, I am focused on further developing the recent work I exhibited at 'In Between.' This project is undergoing exploration for potential presentations in various formats, including the possibility of a book or other publications, as well as exploring alternative printing mediums.