Sayart.net - The Sublime and Coexistence in Kim Young Hwan’s Tempera Art

Kim Young Hwan’s latest exhibition, Peaceful Landscape, hosted by Gallery Sein from December 14 to December 24, presents a profound exploration of coexistence and transcendence through the ancient medium of tempera painting. Known for his ability to merge traditional techniques with modern symbolism, Kim’s works bridge the gap between human experience, nature, and the divine.

Kim’s artistic approach is rooted in tempera, a historic painting technique dating back to early Renaissance artists such as Duccio di Buoninsegna and Cennino Cennini. Using egg yolk, honey, and natural pigments, tempera offers a unique visual and textural quality that is both resilient and luminous. Despite its labor-intensive nature, Kim embraces this medium, layering and refining his works through meticulous cycles of painting, drying, and polishing. This painstaking process results in paintings that embody both a spiritual depth and a meditative tranquility.

His artworks are populated by symbolic icons: hands, trees, houses, and celestial bodies, each carrying layers of meaning. For instance, the recurring motif of a large hand evokes divine grace and blessing, reminiscent of iconography in Christian art history. These hands often interact with natural elements, such as trees or rivers, suggesting a seamless interplay between the human and the divine.

The exhibition’s title, Peaceful Landscape, encapsulates the serene yet evocative qualities of Kim’s compositions. His paintings juxtapose the structured and the organic, capturing a delicate balance between human presence and natural elements. One striking work features a house illuminated by an ethereal light against a backdrop of a towering green tree, while another depicts a barren tree draped with fabric under a misty sky. These images evoke a sense of mystery and interconnectedness, urging viewers to reflect on the relationships between humanity, nature, and spirituality.

Kim’s artistic philosophy draws parallels to Baruch Spinoza’s pantheistic views, wherein God is seen as an inherent cause of all existence rather than a transcendent entity. This perspective resonates in his works, where every symbol, whether a ladder, a river, or a crescent moon, suggests an intrinsic connection to the divine.

The artist’s use of tempera also recalls the aesthetics of Byzantine iconography, where geometric and symbolic forms dominated, often replacing human figures with abstract representations of divinity. Kim’s work similarly transcends literal depictions, focusing instead on conveying spiritual and metaphysical ideas. His compositions, marked by radiant reds, blues, and golds, carry a quiet yet profound resonance, inviting viewers into a contemplative dialogue with the divine.

Beyond its visual impact, the exhibition challenges the audience to consider broader themes of coexistence and harmony. Each painting suggests an intricate web of relationships, not only among the depicted elements but also between the artwork and its observer. By engaging with Kim’s art, viewers are prompted to reflect on their roles within the broader tapestry of life, fostering a deeper appreciation for the interconnectedness of all things.

Kim Young Hwan’s Peaceful Landscape stands as a testament to the enduring relevance of traditional techniques in contemporary art. Through his masterful application of tempera and his nuanced exploration of spiritual themes, Kim invites audiences to rediscover the sublime in the everyday.

Sayart / Maria Kim, sayart2022@gmail.com