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Kim Eull Drawings
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The Grain of Drawing, Flesh of Fetish Yoo Kyung-hee Plate
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Spiral of Unlimited Creation Kim Hyoungmi Plate
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Biography
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Caption
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The Grain of Drawing, Flesh of Fetish Yoo Kyung-hee _ Art Critic / Ph.D
The Song of Presenting Flowers If you would let me leave The cattle tethered to reddish rocks, And feel no shame for me I would pluck and dedicate the flower. I like this Shilla song very much. During the Shilla Period under the reign of King Sungdeok (702-737), Sunjeonggong became governor of Gangnung. On his way to Gangnung, his wife Suro desired azaleas from a cliff-side. The cliff was dangerous, so nobody near Suro would pluck them. However, an old man, passing with his cow, picked her the flowers, singing this song. I am specially captivated by the verse "And feel no shame for me" because I feel it as a representation of eroticism. I am in no way impressed by any logical interpretation. When this song is heard like a serenade, it gives me a great impression. This old man is a reckless artist, uninterested in reward. His spontaneous act is equivalent to some kind of challenge to aesthetic objectivity, in which Suro's mind is the essence of beauty, more beautiful than the flowers. This is the truth an artist seeks. Kim Eull is one such artist.
A Woodcutter's Language Kim Eull works in only drawings as if he cannot speak. His drawing is words he cannot complete, painting that remains unfinished. It is like stammering. Kim's house is full with stammered drawings somehow deficient, common even incomplete. And I like these clumsy drawings, which seem drawn by a woodcutter. I knew him through these drawings. When seeing his drawing, I feel comfort like Maha-Kassapa smiled at the lotus flower Sakyamuni had.
Man Playing with Dolls Many dolls fill Kim's house - Barbie dolls; children's dolls; and ball-jointed dolls. They are like substitutes for something, like a fetish, an improper sexual substitute. They are also like some metonymical object, supplementing original deficiency. Kim's drawing is fetishistic, created by one who cannot endure the original deficiency. No artists who are not fetishists exist. In fetishism there are two mechanisms: retrogression and narcissistic projection. Kim's materialistic drawing is a fetish created by the artist who cannot endure such original deficiency. Kim's doll fetish is ambiguous, disclosing weird sexuality between life and death, Eros and Thanatos, an inexplicable and unutterable aura. It is like a dialogue with Pygmalion, and nostalgia for childhood. In addition, each doll is at once his alter ego and
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the result of oppressive paranoia. His relation with each doll is not perverse, like Oska Kokoschka. In fact, there is room for Kim to engage a more dramatic, fanatic relationship with his dolls.
The Fear of Real Teardrops Teardrops are poetry excreted by the body. Kim draws many kinds, even though he does not weep. It is Kim's heart bearing the tears. When Kim once said, "I have much sorrow", I felt the emptiness of being. His drawings of tears represent a state of sorrow and laughter, grief and pleasure, each teardrop manifesting the alienation of introverted nature. They are plain, ingenuous haiku.
Man Looking into a Mirror Kim's drawings are innocent and pure: they appear unsophisticated. In many, there is a child who is surprising, spontaneous, and never gets old. Through fairytale purity, Kim articulates sorrow and grief in a light-hearted manner. Despite the deep sorrow, his drawings affect only a vague sadness. Kim's appearance is immanent in his drawings, through a candid gaze into his inner self. A voyage resisting forces which might destroy the subject; a struggle to retrieve the chastity and purity of a self, against some Bachelardian dream, escapism, or comfortable rest. It is not of the unconscious, automatism, or narcissistic elements. It is a desire to confirm his being. It is his existence.
Patu, or Escape Kim's drawing is unconventional: his drawing reflects his attempt not to drawing. It is closer to language than imagery; intuition than language. It is an intuitive explanation of intelligence. Kim's drawing is intuitive and simultaneously conceptual. The manifestation of a complete notion, rather than a mere line delineation. It is inward inspection projecting a self, set against conventional notions of space, representation, and illusion. With it, Kim depicts internal concepts, not external objects, and irony rises at this intersection of intuition and conception. Kim's drawing captures trivial moments, evoking witty, weird poetic tension. Kim's drawing deconstructs painting, resulting from a fragmented self, or fragmented others. For this, Kim uses the term Patu, from Hwatu (Korean card game), instead of 'deconstruction' or 'destruction'. Patu is a nonsensical, mischievous, perverse, and derisive term in light of deconstruction ideas of hypocrisy and ostentation. It is like advice to serious, authoritative, hypocritical subjects, to be less pompous. An iconoclastic action, his drawing has the force to overthrow
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convention. An act of playfully destructing them is juissance, pleasure within pain. While Kim's painting is the layering of many brushstrokes, his drawing results from an idea, imagination, and the moment. His painting is layered construction, while his drawing is flatness, emptiness, and looseness. It is like a crawling on the lowest place. To paraphrase Deleuze, it is the process of nomadic thinking in rhizomic form; a vector of deterritorialization, creating a path flowing, overflowing, permeating, instead of one linear and apparently clear, grooved path. His drawing is more than an intellectual journey embracing homelessness, nomadic wandering voluntarily, accepting a rough, shabby state.
Castration and Existence Akin to discarding a God, Kim discards painting. He castrates a painful past to overcome inferiority. Kim's drawing returns him to the world of separated, banal, and microscopic objects and words, departing from the hysterics seeing painting as the fittest. It revives something drowned out by the colossal discourse and empty ideologies. Through drawing, Kim reflects on art and life comprehensively, pouring out his anguish as an artist. He shows his concern for the soul and role of the artist and art. He constantly comes upon fragmentary thoughts on drawing and an act of drawing such as the thickness of a canvas, an heavenward canvas, a canvas on the cliff, and a house on the canvas. Kim draws out these fragmentary thoughts to question what a painting on the wall can do, while arguing that an artist's life is hard. Through drawing Kim asks, "Why is existence important to me?" Most significant for Kim is existence, not drawing. He says, "I draw, therefore I am." His drawing articulates his existential struggle. As so, he experiences two kinds of frustration: one, maladjustment to capitalism, and the sense of urgency within it; the other, feelings of helplessness, because he cannot break away from a tedious, vulgar world, in spite of his will to be.
Pleasure of Text - An Ontological Balance I feel the grain of Kim's text. In the visual arts a text offers the pleasure of reading and making images something linguistic. Kim Eull was the artist who let me know this pleasure, but his anatomical experiment to unveil the text's desire was close to a failure. It is always an unachievable challenge to understand a man or an artist entirely. In addition, the world an artist addresses is often unknown to the public. In this age when anything can be a work of art and nothing special to become a work of art, the artist has to choose to live a life as others voluntarily. By doing it, he becomes the subject of active practice and thinking. Kim's aesthetic sense
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maintains life as others and simultaneously an unrestricted state from any worldly desire. Kim is a rare artist who has the ability to support his family, conscience, and dignity as an artist. In this age when 'rare' means 'outdated', his existence is still regarded precious. Kims' drawing represents desperate wishes to be free from any ideological enforcement imposed by the mainstream art world, painting, colossal discourse, and family history. His adherence to drawing for long years recovers his gaze and sense of ontological balances. Images revive in his drawing, suggesting that he returns to a pictorial sensibility with selfcompleteness.
It is perhaps a time to escape from drawing and then return to painting. I expect Kim Eull to realize the time he has to leave. I hope Kim moves forward to the world of artistic poesie, beyond the boundaries between sensation and idea.
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In India
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Spiral of Unlimited Creation Kim Hyoungmi _ Curator of Arko Art Center
Drawing works by Kim Eull makes the viewer to "unarm" before releasing their harsh words from the aesthetic, sociological, and historical perspectives. Even the most infamous art critics who do not hesitate to dissect all art works with their flowery words founded on little knowledge they have cannot help but get their tongue tied and look up in deference. One might ask how a general audience without much insight on art as a whole would respond. Often times the audience feels intellectually trapped when standing in front of an incomprehensible piece of modern art after making much effort to set their foot in the world of art, which has become a place of its own. Shower of language from another world beyond our understanding can be rather suffocating. Nevertheless, drawings by Kim kindly provide the audience with a breathing room and comfort of the home while seeking sympathetic sense of solidarity. It must be what they call a true communication of "feeling." Popular misperception in the modern art world that considers the expression of "feeling" as the ultimate truth outdated is broken by Kim's works. Kim reaches further to embrace the confused souls of art students. He is a mentor and a role model for those wandering lost in the flood of visual media and cultural elements. He is the companion, predecessor, and teacher who fuels life into the art circle in Korea of this time.
Korea society is tightly woven out of repressive organizations and soundly defined systems, and within it there lies the art world of even more confined norms. As it is the case with everything, walking in the crowd and following the given direction to become a part of the system is a safer and more comfortable way. Yet, the "true" artist could not possibly become an invisible dot in the social norm of his/her time without giving the inner-self an opportunity to raise its voice. We are asked to closely observe and analyze the structure and system of different languages and apply it in complacent with the organizational trend of society, and it is true that the phrases like "feeling" and "true artist" may come across with an awkward connotation. However, Kim's works full of humane warmth do not go well with dry and superficial language in style today.
As somebody once said, if existentialism became the basis of social modernization in place of romanticism, the outcomes might have been somewhat less confusing and erroneous to allow us a certain degree of flexibility at times of different changes. In other words, we might have become more courageous to be able to face the reality. Proposition of "existence" is an issue that cannot be looked away from so long as a person is destined to live.
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Then why is it that we so hesitate to address it in earnestness and sincerity? Is
mere existence is an evidence to that our expectation may not just be founded
it because the process of reality check is so painful or is it because we are
on a fantasy.
afraid of the truth to be told by the reality? His landscape works (Portrait series, Blood Flow Painting series, and Mountain Kim Eull has asked the audience the most basic questions through a number of
works), which could have become the reference to his "hard-defined" style, went
his Mountain works as well as the Portrait series and Blood Flow Painting
down by what Kim himself calls a "fortunate"fire in 1998. One can only imagine
series since the mid-1990s. As if to be weighed down by the theme "Who Am I,
the emotional emptiness he must have become exposed to out of this loss. But
and Where Am I, "bronze relief, rough and masculine matiere surface, and a
Kim, Schwartzenegger of our art world, got back on his feet empty handed. Is it
canvas full of forms and figures visualize the artist's agonizing thoughts in
what they call rehabilitation? There is definitely something different in his works
layers. Kim also successfully extends his works to include more microscopic
from before. Now pure innocence may be a phrase to describe them owing to
parts of our life, for instance, family, society, history, and the world, by getting
the cleansing effect of the fire. One thing for sure, I dare say he seems to be
in touch with the ultimate source of them all. Just like ripples created by a
facing this world more lightheartedly and refreshingly. 265 Okhari recreated his
pebble tossed into the river, the agony over the "existence" presented to us
hometown and brought his ancestors to live in Project Space Sarubia Dabang in
goes beyond all boundaries of time and space to seep into the our life.
2002. Kim intensely poured out his personal experience, tradition, and history to
Somewhat crude and plain scenery of Kim's hometown are familiar and inviting
today. It was a side mark made to his prior works to confirm conceptual and
by nature. It is because his hometown is not foreign to any of us, rather it is a
visual basis for Kim's art world; he also set aside 265 Okhari in his mind as he
piece of memory from our childhood rich in the savoring smell of home-cooked
continued his walk. It might have taken a load off his shoulder. There is the
meal and motherly love. Looking at Kim's works, you will find yourself giving a
sound of whistles, different sceneries previously hidden away, and chattering
gentle nod and subtle smile at the "ambiance" created by the rightful match of
and laughter of little kids. It could have been getting out of a hot bath. All senses
materials, topics, and themes.
emerge to the surface to absorb everything around you, and through his hands everything is made into art. Everything is so lively and valuable that nothing can
Success within the pop culture industry and commodity consumption structure
be thrown away or overlooked.
is oftentimes expressed by phrases like "it has a style," and "the brand has made an impression." There is nothing wrong with joining the top-down trend
Drawing Project: the project to be carried out for three years between 2002 and
thinking, "that's not that bad" in that it is a part of society we live in. In fact, it
2004 first budded out of a complex psychological state resulted from the mixed
might bring along admiration, wealth, and even fame. That is why it is called a
feelings of fear, regret, desire for change, and antisation of the prior being
success. However, there has to be a person who looks through the sickening
evolving around the powerful thematic nature of Blood Flow Painting series. In
evil in such a social phenomenon. One has to recognize that the lies an autistic
an attempt to capture and recreate moments beyond the boundaries of
and self-induced error in it. As sweet as it may seem at first, it is fatally
consciousness and unconsciousness without a set intention, drawing emerged
poisonous to lead people through the path of self-destruction. Nevertheless, its
as an optimal means. Kim's usual endeavor to expand the scope of
call is too strong to ignore for most people. Powerful contagion effect seeps
consciousness against the habitual thinking process makes drawing that does
into other parts of society to distort and corrode their essence. Star system: it is
not get bound by a specified theme a perfectly appropriate outcome.
not a TV star that I am referring to who wants to create his own style and gain
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both the fame and wealth and drive down the road in his expensive sports car
I was able to create a world of mine with new coordinates through the
in fire red. It is a story of a young man who has set his feet in the so-called
drawing works. It was like making an elaborate map of the entangled
"fine art" discipline. By no means am I saying that artists should discuss big
relationship between my life and art, and I found out that only thing
philosophies, engage in serious discourses, and initiate revolutions. Shouldn't
meaningless in the world of mine seemed to be limit its scope under a unified
an artist have a sense of self against the forced repression that makes one
theme. I think it is much more meaningful and fun to pay attention to the
imprison him or herself? At least an "honest" artist should. In this regard, Kim's
relationship between different elements of the whole."
Drawing work was a trial of great significance to Kim, and he set up a few
these pieces is like a hieroglyphic character in need of decoding. Interestingly,
principles for that end. It turned out to be the Drawing Project: he set up a given
a piece carries more than one meaning, and it in itself continues to evolve and
period of time (3 years) to concentrate only on drawing, and the minimum
change based on persons and situations. It is just like the essence in life is an
workload (1,000 pieces per year). Similarly, he stripped the theme definition of
object of interpretation and answer to interpretation and furthermore a symbol
all its significance. He truthfully drew out incidents around him, inner feelings,
and meaning of the symbol all at the same time. In that sense, there definitely
and different thoughts about art as they came about. Warm choices and acts
is a sound ground to how he calls his drawings "miscellaneous." It is not simply
from everyday life were recreated on paper. "You," "Me," and "We," nature and
because he talks about many different things, but because different pieces of
space, man-made symbols, and humans breathe alive in his works.
unique colors come together through a subtle yet definitive link that resembles the one in a chain of you me we society world universe.
Kim chose methods of communication and expression based on clarity and simplicity, and he put much emphasis on perspective insights and reflections
Kim has erected a structure titled "Vortex" that in fact takes the form of a ripple
towards an overall context. Interestingly enough, a number of figurative
of circle. It is a part of his effort to visually materialize his open-ended approach
techniques came into being; for instance, the repeated use of eraser-made
to art over the past few years. It in itself is a miscellaneous drawing about the
stamps, countless duplication of an objective reduced to a figurative symbol,
artist himself and the universe as much as it is a formative whirlpool to
introduction of actual objet as well as magazine and photo images, and
symbolize a birth of a yet another world. Frequencies of Kim's emotions and
replacement of images with writings are only a few of the unconventional
attitudes towards life, diversity and depth of an object made subject to an
techniques he adopted. Visually buoyant and free drawings are as inclusive and
artistic expression, and a spiral within the space of expression come together
open-ended in their contents as they are in forms. Furthermore, Kim managed
with physical and emotional movements experienced by the audience offer us
to avoid the pitfall in all-inclusiveness; how is it that he treats everything there
a glimpse into life in its truest form. And this benefit is delivered to the outside
is to be in this world equality with showers of love and affection?
world through Drawing Book that binds his works into a small booklet. As Kim himself said, "There is nothing more natural than many things put together
Title of each drawing piece shows how sincere he is when addressing different
without a set order. As much as a uniform system can be truthful, I believe that
objects. And this sincerity becomes the source of humor. Humor can truly touch
the lack of order reflects the truth in its most uncorrupted form. Isn't it true that
persons made subject to it when presented by a person who knows what this
both life and nature exist upon jumbles of myopic things?" It is.
world and life really is about. Humor is not a tasteless noise nor is it a mindless hobby, but rather it is a person's most honest and truthful state of mind. It is in
Constant inquiry about "existence" and "origin" that Kim makes as a person,
fact quite similar to the essence in life. Therefore, one should refrain from
and an artist, must be the source of his thirst for truth all the while keeping him
treating humor as a weightless element in light that goes against the depth of
company in everyday life. Like one's own tail that can never be caught, the
sincerity. Smiles voluntarily surface in our face are drawn by Kim's affection to
chase and endeavor to reach the truth can never be completed. That might be
life and depth of his insights. Some of the titles include: "Garage Is a Person/
why Kim has decided to take the matter to his own hands on the back of his
Kick and Loss" "Whatever It May Be," "Subtle Boundaries," "Honest Person,"
bottomless passion, earnestness, and honesty for there is no way to get around
"History and a Pine Tree," "Goddess Statue in Imperfection," "What is Rice
"life" and "essence" with tricks. Kim's sincerity is enough to capture and extract
Cake?... End of Rice Cake," "Who Lives Over the Horizon?," "I Draw, Therefore I
the delicate moments of the "essence," and no peripheral theories and critiques
am. (Then Why Is Being Still So Important To Me?)," and "Rock If Standing,
are enough to fully get to his works. Today when most are busy visually support
Wind If Moving...".
the theories of art, existence of Kim and his works that induces critiques to make a real effort to understand the phenomenon in artistic practice put me
We have to constantly make different choices in life. As much as we may want
more at ease. For there remains an insightful eye that looks through beyond the
to turn our head away and deny them in entirety, they are unavoidable parts of
limitations of this time, the art will continue to prosper.
our life. Kim lays countless pieces of life scattered like debris before us. Each of
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Vortex
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Drawing machine
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Object
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Construction diary
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Biography
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Kim Eull
1989
M.F.A, Jewelry Design, Graduate school of Industrial Arts,
2002
Hong-ik University, Korea 1981
B.F.A, Metal Craft, Won-Kwang University, Korea
"Self-portrait of Korean Art", Sejong Center Museum, Seoul "Thousand eye, Thousand road", Kwanhoon Gallery, Seoul
2001
"2001 Odyssey", Sungsan Arthall, Changwon "NO cut", Gallery Savina, Seoul
Solo Exhibitions
"Painting and Figure", Kwanhoon Gallery
2007
"Miscellaneous Painting2", Gallery Noon, Seoul
2006
"Drawing is Hammering", Take Out Drawing, Seoul
Collections
2006
"Miscellaneous Painting", Gallery Ssamzie, Seoul
National Museum of Contemporary Art, Kwachun, Korea
2005
"Kim Eull Painting & Drawings", Baik Hae Young Gallery, Seoul
Art Bank, Ministry of Culture & Tourism, Republic of Korea
2004
"kim Eull Drawing 2004", Gallery Fish, Seoul
Gyeonggido Museum of Art, Ansan, Korea
2003
"Kim Eull Drawing 2003", Gallery Fish, Seoul
Arko Art Center, Seoul, Korea
"Kim Eull Drawing 2002", Gallery Doll, Seoul
Ssamzie Collection, Seoul, Korea
2002
"#265 Ok ha-ri", Project Space SARUBIA, Seoul
Kumho Museum of Art, Seoul, Korea
2001
"This and That Mountains", Gallery Savina, Seoul
Hana Bank, Seoul, Korea
1996
"Self-Portrait", Kum ho Gallery,Seoul
Arena 1, LA, USA
1994
"Kim Eull Exhibition", Kum ho Gallery, Seoul Drawingbook Publications
Selected Group Exhibitions
Kim Eull Drawings 2004-2004, 2004
2007
"Study of the On Paintings", Ssamzie Space, Seoul
Kim Eull Drawings
2007
"SO.S", The Bus, Seoul
Drawing; Stairs, 2006
"Gyeonggi, National Highway NO,1",
Miscellaneous drawings, 2006
2007
50, 2005
Gyeonggido Museum of Art, Ansan 2007
"Think Green", Gallery Ssamzie, Seoul
Address : 1192-1 Du-chang ri, Won-sam myun, Yong-in city, Kyung-gi do, Korea
2007
"The Time of Surplus", The Gallery, Seoul
E-mail : kimeull@hanmail.net
2006
"Wake up Andy Warhol", Ssamzie Gallery, Seoul
2006
"Persistent Drawing", Gyeonggi Cultural Foundation, Suwon
2006
"Thump", Gallery Noon, Seoul
2006
"1 Hundred Years of Korean Art", National Museum of Contemporaly Art, Kwachun
2006
"Seek in Myeongryun dong", Myeongryun dong, Seoul
2006
"Drawing Energy", Arko Art Center, Seoul
2006
"Drawn to Drawing", SOMA Museum, Seoul
2005
"The play between ", Andrewshire gallery, Arena 1, LA, USA "Domestic Drama", Project Space Zip, Seoul. "Discovery of Seoul", Gallery Gwang, Seoul "Korea-Japan Modern Drawing", Choheung Gallery, Seoul "Flow of Art in Gyeonggi", Exhibition Hall in Gyeonggi Cultural Foundation, Suwon "Movement on Silence", Gallery DOS, Seoul "Reading Diary", Gallery Wooduk, Seoul
2004
"Rolling space", Marronnier Art center, Seoul "Japan Korea Contemporary Art 2004", O Museum, Tokyo, Japan "Close into....Drawing", Gallery Skape, Seoul "RE-MESIS", Space Beam, Incheon
2003
"REAL-SCAPE Revisited", National Museum of contemporary Art, Korea "Trace-scape", Ga Gallery, Seoul "Discovery of Life in Seoul", SsamZie Space, Seoul
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Untitled_stamp on paper_25.5 20.5cm_2005
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Double Kim_copy on paper, water color, collage_34.5 26.5cm_2006
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Square and my drawing_water color on paper, collage_26 18cm_2005
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Self-drawing_black-ink on paper, pencil, seal_19.5 15cm_2006
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Untitled_ink on paper, stamp_26 18cm_2004
065
Untitled_acrylic on paper, stamp, collage_21 29.5cm_2007
018
Untitled_water color on paper, collage_21 16.5cm_2003
066
Landscape with sky and brush and blood only_water color on paper, acrylic_
019
Untitled_water color on paper, ball point pen_24 16.5cm_2003
020
Landscape with me and sky and weed only_water color on paper, collage_
067
Painter in the swamp_water color on paper, ball point pen_21 29.5cm_2007
29.5 21cm_2005
068
Untitled_magic pen on paper_21 29.5cm_2007
021
Untitled_water color on paper, pencil, black-ink_27 19.5cm_2005
069
Untitled_ball point pen on paper_21 29.5cm_2007
022
Canvas pyramid_water color on paper_22.5 26cm_2004
070
Untitled_water color on paper, ball point pen_21 29.5cm_2007
023
1. Collector_water color on paper, ball point pen_18 26cm_2004
071
Untitled_black-ink on paper, ball point pen_21 29.5cm_2007
2. Untitled_water color on paper_15 23cm_2003
072
Six yews_water color on paper_21 29.5cm_2007
024
Hard drawing figure_water color on paper, ink_17 22cm_2003
073
Untitled_water color on paper, pencil_21 29.5cm_2007
025
History of Love_ball point pen on paper_17 22cm_2004
074
Untitled_water color on paper, ball point pen_21 29.5cm_2007
026
The earth-Jin yang Brand_color pencil on paper_15 21cm_2004
075
Untitled_acrylic on paper, ball point pen_21 29.5cm_2007
027
Untitled_water color on paper, pencil_17 22cm_2004
076
Untitled_pencil on paper, ball point pen, collage_21 29.5cm_2007
028
Art in turning point_water color on paper_27 19.5cm_2005
077
Untitled_water color on paper_21 29.5cm_2007
029
Rain drop like pop art_water color on paper_23 19.5cm_2005
078
Untitled_acrylic on paper_21 29.5cm_2007
030
Untitled_water color on paper, collage_21 21cm_2003
079
Untitled_water color on paper_21 29.5cm_2007
031
The space with pillar_water color on paper_23 15cm_2003
080
Untitled_water color on paper, ball point pen_21 29.5cm_2007
032
A copy of mountain map_water color on paper, black-ink, collage_
081
Untitled_water color on paper, ball point pen_21 29.5cm_2007
27 36cm_2003
082
Untitled_water color on paper, ball point pen, collage_21 29.5cm_2007
033
No more of blood painting_water color on paper, ink_26 26cm_2003
083
Untitled_water color on paper, pencil, collage_21 29.5cm_2007
034
Portrait with humanity and natural laws_black-ink on paper_
084
Untitled_water color on paper_21 29.5cm_2007
20.5 30cm_2004
085
Untitled_acrylic on paper_21 29.5cm_2007
035
Untitled_water color on paper, ball point pen_21.5 30cm_2005
086
LA MONTAGNE SAINTE-VICTOIRE ET LE CHATEAU NOIR_
036
My face projected on blue-and-white porcelain bowl_ water color on paper, ball point pen_15 22cm_2004
ink on paper, water color_39 50cm_2005 087
1. LAC D’annecy_ink on paper, water color_39 52.5cm_2005
037
Mountain and River of studio_water color on photograph_14.5 19.5cm_2003
038
MOMA_water color on paper_20 38cm_2005
088
History and pine tree_water color on paper, object_29.5 21cm_2003
040
Untitled_water color on photograph_20 15cm_2003
089
Untitled_stamp on papers, vinyl string, collage_25 18 2.5cm_2002
041
Untitled_sticker on paper_18 13cm_2004
090
Secret canon of painting_black-ink on book, water color_29 19.5cm_2003
042
Untitled_water color on paper, pencil_18.5 15cm_2006
091
Chu-sa’s calligraphy and my red orchid_water color on book_
043
My-self_water color on paper, pencil_19.5 15cm_2006
044
Untitled_stamp on paper_30 21cm_2003
045
Revolving canvas_water color on paper, ball point pen_26 18cm_2003
046
Untitled_water color on paper, black-ink, ball point pen_28.5 37.5cm_2005
047
2. GRANDES BAIGNEUSES_ink on paper, water color_39 52.5cm_2005
22 14 092
048
Self-portrait facing each other_water color on paper_20.5 29.5cm_2002
049
1. Self-portrait facing each other_water color on paper_20.5 29.5cm_2002
cm_2003
Very good drawing series_water color on paper, ball point pen_ 30.5 21.5cm_2005
093
_water color on paper, collage_36 29cm_2003
2. Self-portrait facing each other_water color on paper_20.5 29.5cm_2002
176
21 29.5cm_2007
Very good drawing series_water color on paper, ball point pen_ 30.5 21.5cm_2005
094
Very good drawing series_water color on paper, ball point pen_ 30.5 21.5cm_2005
095
Very good drawing series_water color on paper, ball point pen_
050
Untitled_water color on paper, ball point pen_15.5 16.5cm_2003
051
Thinking about 19 Rhodeus Uyekii_water color on paper, stamp_
096
30.5 21.5cm_2005 Very good drawing series_water color on paper_30.5 21.5cm_2005
15.5 18cm_2003
097
Very good drawing series_water color on paper_30.5 21.5cm_2005
052
Bundles to the Daejeon_black-ink on paper_15 20cm_2002
098
Very good drawing series_water color on paper_30.5 21.5cm_2005
053
Sorok Island_water color on paper, pencil_18 26cm_2006
099
Very good drawing series_water color on paper_30.5 21.5cm_2005
054
Iron-bird constellation_water color on map, black-ink_24 33cm_2003
100
Very good drawing series_water color on paper, ball point pen_
056
Reservoir_water color on paper, black-ink_29.5 21cm_2003
057
Emerald_water color on paper, ball point pen_21 19cm_2004
101
Very good drawing series_water color on paper, pencil_30.5 21.5cm_2005
058
Dish design for mental training_water color on paper, ink_20 20cm_2003
102
Very good drawing series_water color on paper, ball point pen_
059
Dish design for mental training_water color on paper, ink_20 20cm_2003
060
Untitled_ball point pen on paper, color pencil_17 12cm_2004
061
Oh, 50!!_water color on paper, ball point pen_18 25.5cm_2004
30.5 21.5cm_2005
30.5 21.5cm_2005 103
Very good drawing series_water color on paper, ball point pen_ 30.5 21.5cm_2005
104
1. Very good drawing series_water color on paper, ball point pen_
114
30.5 21.5cm_2005 2. Very good drawing series_water color on paper, ball point pen_
115
30.5 21.5cm_2005
3. Kind of Tears_mixed media on paper_17 13cm_2006
30.5 21.5cm_2005
4. Kind of Tears_mixed media on paper_17 13cm_2006 116
30.5 21.5cm_2005 105
1. Very good drawing series_water color on paper_30.5 21.5cm_2005
3. Kind of Tears_mixed media on paper_17 13cm_2006 4. Kind of Tears_mixed media on paper_17 13cm_2006 117
4. Very good drawing series_water color on paper, ball point pen_
107
108
3. Kind of Tears_mixed media on paper_17 13cm_2006
1. Paper is white, body is yellow_black-ink on paper_10 26cm_2004 2. Brush on left, hammer on right_black-ink on paper_10 26cm_2004
4. Kind of Tears_mixed media on paper_17 13cm_2006 118
2. My tools_black-ink on paper_15 21cm_2004
2. Come across the wind with naked body_black-ink on paper_10 26cm_2004
3. My tools_black-ink on paper_15 21cm_2004
3. Life is a drawing_black-ink on paper_10 26cm_2004
4. My tools_black-ink on paper_15 21cm_2004
1. All paintings have a same purpose_black-ink on paper_10 26cm_2004
5. My tools_black-ink on paper_15 21cm_2004
3. Increase works, become narrower studio_black-ink on paper_
110
6. My tools_black-ink on paper_15 21cm_2004 119
2. My tools_black-ink on paper_15 21cm_2004
1. Cow, hen, dog and painting_black-ink on paper_10 26cm_2004
3. My tools_black-ink on paper_15 21cm_2004
2. Painting is silent_black-ink on paper_10 26cm_2004
4. My tools_black-ink on paper_15 21cm_2004
3. Trivial painting_black-ink on paper_10 26cm_2004
5. My tools_black-ink on paper_15 21cm_2004
1. Presentations_ink on paper_6 9cm_2004
6. My tools_black-ink on paper_15 21cm_2004
2. Presentations_ink on paper_6 9cm_2004
7. My tools_black-ink on paper_15 21cm_2004 8. My tools_black-ink on paper_15 21cm_2004
4. Presentations_ink on paper_6 9cm_2004
120
1. Presentations_ink on paper_6 9cm_2004
121
2. Presentations_ink on paper_6 9cm_2004 3. Presentations_ink on paper_6 9cm_2004
112
Concentric circle_water color on paper, ink_15 20cm_2004 1. Concentric circle_water color on paper, ink_15 20cm_2004 2. Concentric circle_water color on paper, ink_15 20cm_2004
122
1. Concentric circle_water color on paper, ink_15 20cm_2004
4. Presentations_ink on paper_6 9cm_2004
2. Concentric circle_water color on paper, ink_15 20cm_2004
5. Presentations_ink on paper_6 9cm_2004
3. Concentric circle_water color on paper, ink_15 20cm_2004
6. Presentations_ink on paper_6 9cm_2004
4. Concentric circle_water color on paper, ink_15 20cm_2004
1. M A D 2002_black-ink on paper_10 7cm_2002 2. M A D 2002_black-ink on paper_10 7cm_2002
5. Concentric circle_water color on paper, ink_15 20cm_2004 123
1. Concentric circle_water color on paper, ink_15 20cm_2004
3. M A D 2002_black-ink on paper_10 7cm_2002
2. Concentric circle_water color on paper, ink_15 20cm_2004
4. M A D 2002_black-ink on paper_10 7cm_2002
3. Concentric circle_water color on paper, ink_15 20cm_2004
5. M A D 2002_black-ink on paper_10 7cm_2002
4. Concentric circle_water color on paper, ink_15 20cm_2004
6. M A D 2002_black-ink on paper_10 7cm_2002
113
1. My tools_black-ink on paper_15 21cm_2004
10 26cm_2004
3. Presentations_ink on paper_6 9cm_2004 111
1. My tools_black-ink on paper_15 21cm_2004
1. Mountain’s high, sun sets_black-ink on paper_10 26cm_2004
2. Hold a brush with laugh_black-ink on paper_10 26cm_2004
109
1. Kind of Tears_mixed media on paper_17 13cm_2006 2. Kind of Tears_mixed media on paper_17 13cm_2006
30.5 21.5cm_2005 106
1. Kind of Tears_mixed media on paper_17 13cm_2006 2. Kind of Tears_mixed media on paper_17 13cm_2006
2. Very good drawing series_water color on paper_30.5 21.5cm_2005 3. Very good drawing series_water color on paper_30.5 21.5cm_2005
1. Kind of Tears_mixed media on paper_17 13cm_2006 2. Kind of Tears_mixed media on paper_17 13cm_2006
3. Very good drawing series_water color on paper, ball point pen_ 4. Very good drawing series_water color on paper, ball point pen_
1. Kind of Tears_mixed media on paper_17 13cm_2006 2. Kind of Tears_mixed media on paper_17 13cm_2006
5. Concentric circle_water color on paper, ink_15 20cm_2004
7. M A D 2002_black-ink on paper_10 7cm_2002
124
8. M A D 2002_black-ink on paper_10 7cm_2002
125
Bird_water color on paper_20 17cm_2004 1. Bird_water color on paper_20 17cm_2004
9. M A D 2002_black-ink on paper_10 7cm_2002
2. Bird_water color on paper_20 17cm_2004
1. M A D 2002_black-ink on paper_10 7cm_2002
3. Bird_water color on paper_20 17cm_2004
2. M A D 2002_black-ink on paper_10 7cm_2002
4. Bird_water color on paper_20 17cm_2004
3. M A D 2002_black-ink on paper_10 7cm_2002
5. Bird_water color on paper_20 17cm_2004
4. M A D 2002_black-ink on paper_10 7cm_2002
6. Bird_water color on paper_20 17cm_2004
5. M A D 2002_black-ink on paper_10 7cm_2002
7. Bird_water color on paper_20 17cm_2004
6. M A D 2002_black-ink on paper_10 7cm_2002
8. Bird_water color on paper_20 17cm_2004
7. M A D 2002_black-ink on paper_10 7cm_2002
9. Bird_water color on paper_20 17cm_2004
8. M A D 2002_black-ink on paper_10 7cm_2002
126
Bamdee village_black-ink on paper_15 21cm_2004
9. M A D 2002_black-ink on paper_10 7cm_2002
127
1. Bamdee village_black-ink on paper_15 21cm_2004
177
128
2. Bamdee village_black-ink on paper_15 21cm_2004
155
Vortex_detail
3. Bamdee village_black-ink on paper_15 21cm_2004
156
Vortex_detail
4. Bamdee village_black-ink on paper_15 21cm_2004
157
Vortex_detail
5. Bamdee village_black-ink on paper_15 21cm_2004
158
Drawing machine_machinery structure_160 60 60cm_2006
6. Bamdee village_black-ink on paper_15 21cm_2004
159
Drawing machine_detail
1. CCTV_mixed media on paper_19 14cm_2004
160
Draw the man standing squarely in the middle of a picture plane_
2. CCTV_mixed media on paper_19 14cm_2004 3. CCTV_mixed media on paper_19 14cm_2004 129
steel, wood, enamel paint_600 400 4cm_2006 161
1. CCTV_mixed media on paper_19 14cm_2004 2. CCTV_mixed media on paper_19 14cm_2004
ball point pen on paper_18.5 14cm_2006 162
1. Untitled_toy, brush, copper plate_13 13 7cm_2006
3. CCTV_mixed media on paper_19 14cm_2004
2. Untitled_toy, tube-color, canvas_30 12 7cm_2006
4. CCTV_mixed media on paper_19 14cm_2004
3. Untitled_toy, sculpey, acrylic, each_7 6 4cm_2002
130
Inner cover_sign pen on paper_26 18.5cm_2004
131
Inner cover_sign pen on paper_22.5 15cm_2004
132
1. Inner cover_sign pen on paper_17 12cm_2004
2. Untitled_toy, doll, brush, canvas_13 15 6cm_2006
2. Inner cover_sign pen on paper_17.5 10.5cm_2004
3. Untitled_doll, ball, pencil_7 15 7cm_2005
3. Inner cover_sign pen on paper_18 12.5cm_2004
4. Untitled_toy, wood_5 18 14cm_2006
4. Inner cover_sign pen on paper_17 10.5cm_2004
5. Untitled_doll, stone_7 17 6cm_2005
1. Inner cover_sign pen on paper_16 10cm_2004
6. Untitled_doll, sculpey, brush_6 10 6cm_2006
2. Inner cover_sign pen on paper_22.5 15cm_2004
7. Untitled_doll, wood_6 14 6cm_2007
3. Inner cover_sign pen on paper_19 13cm_2004
8. Untitled_doll, toy, drawing book_35 20 11cm_2006
133
4. Untitled_doll, brush_11 25 6cm_2006 163
4. Inner cover_sign pen on paper_18 13cm_2004
1. Untitled_doll, brush, sculpey_31 8 8cm_2006
9. Untitled_doll, brush_6 28 10cm_2004
134
Inner cover_water color on paper, sign pen_22 15cm_2004
135
1. Inner cover_water color on paper, sign pen_21 15cm_2004
2. Construction diary_note_12.5 17.5cm_2004
2. Inner cover_water color on paper, sign pen_15 10.5cm_2004
3. Construction diary_note_12.5 17.5cm_2004
164
3. Inner cover_water color on paper, sign pen_18 13cm_2004 4. Inner cover_water color on paper, sign pen_18 18cm_2004
1. Construction diary_note_12.5 17.5cm_2004
4. Construction diary_note_12.5 17.5cm_2004 165
1. Construction diary_note_12.5 17.5cm_2004
136
My Black Drawing Book (Vol.1)_drawing book on paper, wire_
2. Construction diary_note_12.5 17.5cm_2004
26 26
3. Construction diary_note_12.5 17.5cm_2004
137
1. My Black Drawing Book (Vol.2)_drawing book on paper, wire_ 26 26
cm_2005
4. Construction diary_note_12.5 17.5cm_2004
cm_2005
5. Construction diary_note_12.5 17.5cm_2004
2. My Black Drawing Book (Vol.3)_drawing book on paper, wire_ 26 26
cm_2005
6. Construction diary_note_12.5 17.5cm_2004 166
3. My Black Drawing Book (Vol.6)_drawing book on paper, wire_ 26 26 26 26
cm_2005
3. Construction diary_note_12.5 17.5cm_2004 4. Construction diary_note_12.5 17.5cm_2004
cm_2005
138
Untitled_water color on newspaper_33 28cm_2004
139
1. Untitled_water color on newspaper_34 28cm_2004
1. Construction diary_note_12.5 17.5cm_2004 2. Construction diary_note_12.5 17.5cm_2004
4. My Black Drawing Book (Vol.10)_drawing book on paper, wire_
5. Construction diary_note_12.5 17.5cm_2004 6. Construction diary_note_12.5 17.5cm_2004 167
1. Construction diary_note_12.5 17.5cm_2004
2. Untitled_water color on newspaper_36.5 27cm_2004
2. Construction diary_note_12.5 17.5cm_2004
3 Untitled_water color on newspaper_36.5 28cm_2004
3. Construction diary_note_12.5 17.5cm_2004
4. Untitled_water color on newspaper_36 28cm_2004
4. Construction diary_note_12.5 17.5cm_2004
140
JULIET_ink on paper_12 17.5cm_2003
5. Construction diary_note_12.5 17.5cm_2004
141
Yale junior in INDIA_water color on paper, pencil_17.5 12cm_2003
142
Two sun and three moon rise in INDIA_water color on paper_19 19cm_2003
143
1. Night of Genges_ink on paper_14 23cm_2003
2. Construction diary_note_12.5 17.5cm_2004
144
6. Construction diary_note_12.5 17.5cm_2004 168
1. Construction diary_note_12.5 17.5cm_2004
2. A cup of chai taken at hotel Alka near Genges riverside_
3. Construction diary_note_12.5 17.5cm_2004
water color on paper_14.5 23cm_2003
4. Construction diary_note_12.5 17.5cm_2004
1. The planes of existance_water color on paper_15 15cm_2003
5. Construction diary_note_12.5 17.5cm_2004
2. Cosmic egg_water color on paper_12 15cm_2003
6. Construction diary_note_12.5 17.5cm_2004
3. Primal form_water color on paper_11.5 13.5cm_2003
178
Draw the man standing squarely in the middle of a picture plane_
152
Vortex_mixed media on paper_150 4239cm_2006
154
Vortex_detail
Kim Eull Drawing Published by Eull Kim Essays by Kyunghee Yoo, Hyoungmi Kim Translations by Art n Text Edited by KC Communications Sponsored by Gyeonggi Cultural Foundation No part of this catalogue may be reproduced in any form by electronic or mechanical means (including photocopying, recording, or information storage and retrieval) without permission on writing from the copyright holder.