...in the flesh of her subconscious, she intently presses the plates & her equations render form,

        …in the flesh of her subconscious, she intently presses the plates & her equations render form,

        …in the flesh of her subconscious, she intently presses the plates & her equations render form,




In Jung Yeon Kim’s exhibition titled Tidal Bore*, at de Bouwput in Amsterdam, one is presented with Kim’s ongoing meticulous study of what she terms an “odd equilibrium” between states of composition that hold balance, translated through numbers and geometric alignment. Measured through the pressure/s of her wading hands, she simultaneously enters a state of dissonance where she focuses on undoing these anchored directions.

The work/s shown during this exhibition were developed while Kim further familiarized herself with printmaking techniques such as drypoint, carborundum, sugarlift, spitbite, and etching printing. We are met here with her interactions of these techniques through which she deepens her understanding and sustains her imagination, and formulates and expands her visual vocabulary.

It is the interchange between these techniques that became Kim’s aperture to observe the materialization of her embodied knowledge, about this she says: “It was like learning how to embody the color red into paper, by touching, mixing, blending, pushing, and gliding with my hands: physically experiencing the viscosity of each ink.” 

What (re-)surfaces in her work/s is an amalgam of intended and serendipitous shapes and textures, weighted and lifted by presences and absences—Tidal Bore emphasizes Kim’s demarcated web of play where she awaits and evokes her “(perpetual) transposition/s”, here she pours her wave/s of pronunciation/s now.  




        yet again, us move within perpetual transpositions*




        …in the flesh of her subconscious, she intently presses the plates & her equations render form,