1.

One uncomfortable fact in today’s art world is that although an artist’s popularity and recognition are not the best standards to evaluate the worth of their artwork and acts of creation, this is not often the case in reality. Art cannot be explained by manuals and its narratives cannot be defined by a few simple standards. As revealed in the Korean art world, however, I suspect that in some sense, a few major galleries and critics have distorted the reasonable evaluation of artists and their artworks with somewhat undesirable intentions. Proper standards must be entirely dependant on the results of creation and a system to impartially assess these works of art must be put in place. Regrettably, however, the evaluation of artworks is often influenced by other inessential elements and thus their true value can become distorted or damaged. Kim Hong-tae is a somewhat unique artist who has offered his own criterion to assess the value of creation. Kim, whether by his own intention or other’s, is classified as a non-mainstream artist who has overcome widespread, solid prejudices in the Korean art world with his own eminent artistry.  As a result, his place in the Korean art world cannot be denied even if he has remained on the outskirts. I first met him at Gallery Sang, the venue for his second solo exhibition in2004. At that time, I was the chief editor of Monthly Misul-saegye. I happened upon his work and wrote a lengthy article without any real, specific information. This was of course possible as I was surprised at the profound world conjured up in his work. His work breathed with the artist himself in brisk, cheerful colors alongside contrasting hues, and appeared quite impressive with its line delineation that seemed to reference Oriental painting. Kim’s paintings appeared lively and animated with free-flowing, unreserved Neo-wavist line delineation, properly gathered or scattered planes, and an intense tension caused by these planes. His work’s composition recalls fairytale narratives, and simple, pure, and informal unconscious shapes evoke a world of childlike purity and innocence. Kim’s recent work still deals with the ideas of our primitive, basic living conditions, the worth of life, and our desire for coexistence, but what I felt when first seeing his work still remains deeply inscribed in my mind. After several exhibitions, he has been invited by some prestigious American galleries and had the chance to revitalize his activities.  Furthermore, the results of these experiences are not derived from superficial, light-hearted skill, but from his authentic mind.

2.

The path that each artist pursues is the foundation for his fundamental principles and values, forming the basis for his life and spirituality. Since his first solo exhibition, Kim has participated in a number of group and invited art shows including the Korea Art Festival, Christian Artist Association exhibition, National Art Exhibition of Korea, and The Beauty of Korea exhibition. Kim shapes his own aura through strenuous, tireless practice, stating that “a painter talks in his painting.” This aura can be sensed in Childlike Innocence and the Primordial, which Kim worked on for many years. Like ornaments, lots of symbolic traces appear in this serial works. These are the conditions that allow people to live the basic, primordial life inherent in their inner selves. His work represents the layers of our arduous life traces and the beautiful, mystic vestiges of our inward mental world. With many of the characteristics of abstract art, Kim’s work can appear rather ambiguous and obscure. Its’ painterly quality is derived from his reinforced creativity. His work is above all characterized by an extremely primal sense of expression much like line engravings found in cave and mural paintings from the prehistoric age. Gray monochromes, paint thickly applied or removed, and illusory forms hidden beneath matiere generated by the use of several materials coexist, collaborate, and transform to provoke a strong sense of vitality. These elements serve to distinguish Kim’s work from many others. The allegorical symbols involved in the making of his work appear mystic and fairytale-like. Kim’s creativity is derived from his fundamental questions concerning the meaning of life, which become illuminated when he uses various symbols to represent them. There are many pieces that can be likened to Kim’s paintings, but what’s particularly distinctive about his work is the sense of purity and innocence his work brings about. Purity and simplicity appears as childlike innocence in his work. As Jesus remarked that “only those with childlike mind can go to Heaven.”, Kim represent age, instead of concealing it. His painting idiom becomes more simplified and refined over time. I consider this is a keyword to understand Kim’s art world. Childlike innocence he seeks is an attempt to return to the primordial. Childlike mind bears resemblance to primitiveness in that the two are simple and innocent, which connote all meanings and symbolism.

3.

In his work, diverse compositional elements freely fill the two-dimensional space. In the space, short and long lines, blunt and angular planes come together and identical or complementary colors are in accord, disregarding the principles of our everyday perception. Any conventional, habitual qualities of watercolor painting, perspective, or concrete forms no longer appear, as the layers of time found in his work generate complex, multiple spaces. Kim is currently active, holding continuous exhibitions in Insa-dong, a cultural hub of Korea, and the United States and other European countries as well, often saying that his life as an artist has just begun. Kim introduced his vision as a painter when he appeared on a KBS television special program 20 years ago. Even after 20 years and many changes in style and mode, there is still a tendency in his art to feature simple, pristine childlike joy and innocence. He seems to embrace all conflicting things without any feeling of heterogeneity, transcending the gaps of time. He gradually evolves to a world of childlike innocence on a primitive, fundamental level. What Kim’s work presents is usually distinct, unaffected, and strong in vitality. We feel a pure aesthetic quality while appreciating his work.