Han Nae Kim
Han Nae Kim
What inspires your art practice?
Perhaps the embedded memories associated with the current issues I have been exposed to, whether they are personal, social or global. I was raised and educated within the collided cultural constraints between east and west. My body and mind have been tamed within the cultural borders of sometimes conflicting regulations, prejudices, expectations, and gazes. I am fully aware that I use the canvas as an escape route from my repressed self or ego. What is made in my studio usually requires repetitive and obsessive bodily gestures of rubbing, sanding, binding and polishing in order to become a sensorial mass, which speaks about the unconsciousness emerged through the consciously controlled, yet cathartic procedure.
What materials do you work in?
I have been trained in Asian natural lacquer art through a number of international artist residencies and now I revive the traditional technique of lacquer along with the use of other favourite mediums such as charcoal and shellac on wood, metal sheets, fabrics and paper.
Describe your artwork for NZ Sculpture OnShore 2021
I aim to explore the gaps and psychological phenomena found in cultural mélange through the devices created by the artist’s body and materials. The choice of materials may have been unconsciously self-reflective, as the palette and the textures I create while using those materials have resulted in giving the impression of ‘Asian-ness’ to many viewers. The tactile quality of Urushiol-based Asian lacquer and the sensorial experience involved in the making process are equally important as the aesthetic appeal. Various states of being expressed in the works are based on a paradigm shift moving from a one-sided and absolute integration or unification towards mutual and relative pluralism.
Where did you study?
MFA, Victorian College of the Arts, The University of Melbourne BFA, Elam School of Fine Arts, The University of Auckland