- Finger Play／Finger Play 2019
Jinhee Kim
キム・ジンヒ
- ART FAIR - MEET YOUR ARTISTS -CO-CROSSOVER -Romantic beyond us (earth)-
Kim Jin-hee was born in Busan, South Korea in 1985 and graduated from the Department of Photography at Chung-Ang University (Seoul, South Korea) in 2008.
Kim debuted with the "Whisper(ing)" series, which resonated with the delicate emotions of women her age, such as pain and anxiety. Building on this work, she began incorporating the technique of "embroidering words onto prints" into her work starting with "She," in order to more deeply reflect the subconscious minds of her subjects. Psychologically shocked by the Sewol Ferry disaster in 2014, Kim took time to process the event within herself, and developed this technique further with "April," in which she embroidered abstract figures onto landscape photographs of the area near the disaster site, as a way of mourning. She also developed "Letter to Her" and "Labor of Love," in which she embroidered various words onto photographs of postcards obtained at European flea markets. Since 2018, with "Finger Play," she has focused on women's "hands" found in printed materials circulating in Korea. Kim, who suffers from a skin condition on her hands, explores the collective perception of women's hands in society as if to heal her own pain. In addition to embroidering on photographic prints, she also creates new works in which she arranges hands and threads and re-photographs them.
Her major solo exhibitions include "The Way We Hold Hands" (2020, La Heen, Seoul) and "Finger Play" (2019, KANA KAWANISHI PHOTOGRAPHY, Tokyo). Her group exhibitions include "Penelope's Web" (2022, Plate2Place, Seoul), "Decades 2000_2020" (2021, KANA KAWANISHI PHOTOGRAPHY, Tokyo), and "Body Politics: What Defines the Body?" (2018, KANA KAWANISHI PHOTOGRAPHY, Tokyo).
Kim debuted with the "Whisper(ing)" series, which resonated with the delicate emotions of women her age, such as pain and anxiety. Building on this work, she began incorporating the technique of "embroidering words onto prints" into her work starting with "She," in order to more deeply reflect the subconscious minds of her subjects. Psychologically shocked by the Sewol Ferry disaster in 2014, Kim took time to process the event within herself, and developed this technique further with "April," in which she embroidered abstract figures onto landscape photographs of the area near the disaster site, as a way of mourning. She also developed "Letter to Her" and "Labor of Love," in which she embroidered various words onto photographs of postcards obtained at European flea markets. Since 2018, with "Finger Play," she has focused on women's "hands" found in printed materials circulating in Korea. Kim, who suffers from a skin condition on her hands, explores the collective perception of women's hands in society as if to heal her own pain. In addition to embroidering on photographic prints, she also creates new works in which she arranges hands and threads and re-photographs them.
Her major solo exhibitions include "The Way We Hold Hands" (2020, La Heen, Seoul) and "Finger Play" (2019, KANA KAWANISHI PHOTOGRAPHY, Tokyo). Her group exhibitions include "Penelope's Web" (2022, Plate2Place, Seoul), "Decades 2000_2020" (2021, KANA KAWANISHI PHOTOGRAPHY, Tokyo), and "Body Politics: What Defines the Body?" (2018, KANA KAWANISHI PHOTOGRAPHY, Tokyo).
