b. 1984 -
Normal Life, Unit London
The Other Side of My Life, Solo Exhibition,
Everyday Mooonday Gallery
Normal life, 갤러리 까비넷
Normal life, 3th Printbakery Art Super Market
Group exhibition, Live drawing performance
with Seokcheol Yun at. D museum
2th Printbakery Art Super Market Group exhibition
Normal Life, Solo Exhibition, Everyday
Mooonday Gallery "일상그림" 출판:도서출판 1984
People, Solo Exhibition
Normal life, veryday mooonday gallery
Childhood skateboard Exhibition
Color on canvas exhibition, Mimesis art museum
희한한 시대展 with 옥상달빛
The present AXOO Group exhibition
Heesookim sketch exhibition, Opium studio
Born in 1984 in Seoul, Heesoo Kim studied design in advertising and marketing. He worked as photographer and at age 29, he transformed as a painter. In the beginning, Kim was a modern photographer presenting his painting through SNS. Currently, he is an artist showing at various solo and group exhibitions around the title ‘Normal Life’. He shares his daily life and emotions through his work with the viewers. The exhibition, ‘The Other Side of My Mind’ dives in deeper yet delicately into the psyche of depression in his daily life. Kim works between public art and fine art with a focus on the mundane events and emotions in his own style.
Heesoo Kim defines as an “expression of the mundane”, Normal Life is an accumulation of everyday observations. Having struggled with his own insecurities, Kim’s portraits act as a means to regain agency as the artist chooses to paint the stories of those around him, recording the feelings and emotions that connect us all. These portraits do not attach themselves to any specific sense of personhood; each figure, wiped clean of idiosyncrasies, could be anyone. Kim therefore encourages his viewers to project themselves onto his portraits, revelling in the conceivable meanings of our universal experience and presenting an ordinary that has the potential to be extraordinary.
Before he began to paint, Kim trained as a photographer. When he decided to move from photography to painting, he spent much of his time practicing alone. As an avid notetaker, the artist has long saved short snippets of writing that record his ordinary moments, keeping these collections in sketchbooks and journals. Kim’s paintings often unfold from the musings that float across the pages of his journals. Unexpected events will occur without exception. A singular obsession has narrowed the mind’s eye. These scribbled moments of self-reflection become the building blocks of Kim’s portraits in which unknown figures are immobilised and held as though through the lens of a camera. They often grasp everyday yet disquietingly incongruous items. With one eye sometimes closed tight and with hands sometimes pressed to their ears, these sitters seem to recall and then wince from the onset of an unwelcome thought. Insignificant things often hurt our emotions: another idea that creeps its way onto the pages of Kim’s journal.
Having long felt compelled towards portraiture, Kim has always wanted to paint people and visualise their everyday stories. By never attaching titles to his artworks, he keeps them as open as possible, liberating each piece from fixed interpretation: “I believe that it is in the artist's karma to fill what is void, to make whole what is incomplete”. Ultimately, in their unabashed recognition of banality, Kim’s portraits encourage us to look both outwardly and inwardly, to search for the intrinsic value in our universal experience.