Browsing by Author "Kim, Hee Sook"
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- ItemAcuérdate(2013) Nunez, Erika; Kim, Hee SookI am for an art that will say I existed, that I was here. I am for an art that upsets and excites and makes you squirm a little from both. I am for an art that forgives the girls who broke my heart. I am for an art that reminds me to feel remorse about girls whose hearts I broke. I am for an art that says I am not afraid of hell. I am for an art that I will never be able to show my parents. I am for an art that states I have the right to love and be loved, despite what society has told me. I am for an art that says being raised Christian was a result of imperialism and colonialism. I am for an art that doesn’t negate my parents’ beliefs but rather makes a new space for my own. I am for an art that outs me. I am for an art that reminds me of how far I’ve come from the days I thought I’d have to lie about who I was forever. I am for an art that puts the girls my parents warned me about on a pedestal. I am for an art that reminds me of mornings in someone else’s bed. I am for art that reminds me of every person I have ever loved (cause you are in there, somewhere). I am for an art that comforts me about all the mistakes I made trying to figure out who I was or where I was going. I am for an art that reclaims everything I was told I could not have or be. I am for an art that tells others, “here is someone like me.” I am for an art that serves as a physical reminder to never let myself feel shame or self-hate ever again. I am for an art that reminds me that my identity and existence is something to be celebrated.
- ItemAnnie Risemberg Fine Arts Senior Thesis Project(2013) Risemberg, Annie; Kim, Hee SookI started photographing on 52nd Street in early 2010. I came to Bryn Mawr and Haverford from a low-income family and a diverse upbringing, and while I found the suburban community uncomfortable, I was drawn to the lively and open atmosphere I found on 52nd. I have since spent a lot of time there, both creating photographs and connecting personally with the area. This body of work is about the youth of that neighborhood, which is almost entirely African-American, and I have found is often overlooked by the surrounding wealth of the Main Line to the west and the University of Pennsylvania to the east. Being young, urban, and black, these people are also one of the most stereotyped groups in the United States. Some of the individuals depicted are people I only spoke to for a few minutes, and some are people I have known for a few years. I am interested in self-expression and self-representation, especially considering that our generation is intimately familiar with how to present themselves to a camera. Each photograph has a story behind its creation, whether it was a woman stopping me on the street and asking for a photograph as a favor or a young man deciding to be photographed in front of a mural of his late friend. I want the images to evince some sense of that story and of the individual that I knew or encountered.
- ItemInstallation entitled "An Alternative Perspective"(2022) Singh, Shreya; Kim, Hee SookWhile barriers remain in regular conversations– cultural, geographical, or language – photography reminds us how we are connected to others in a visual manner. Being born and brought up in the UAE, my connection to my ancestors stems from my memories of family discussions. My aunt often describes a particular room in the multi-generational home she and my mother grew up in Lucknow, India. Large, elaborate portraits on the walls documented the men in our family. In this project, I am providing an alternative perspective into our family history representing the women in my family. I believe it is equally as important, if not more so, to emphasize their presence in our family history.
- ItemKatharine Seto Fine Arts Senior Thesis Project(2012) Seto, Katharine; Kim, Hee SookArt is like a person—organic, complex, and emotional. Art’s differences cannot be defined by intellectual labels that only loosely describe what a viewer sees or feels in a piece of art. Only the artist has a full understanding of how a piece came to be, from the inception to the fully finished product. Once it leaves the artist’s hands, all the labels and analysis may stretch its meaning far from its original intention. So here I am, trying to blur the lines between the labels—specifically between art and fashion. Where does the art end and the design begin? Do I need to plan from start to finish, or can I create through a series of spontaneous actions and unconscious decisions? Why is a person drawn to something, and how can I become part of the creation of that product? Part of my process with art is tossing aside any process. I feel that I need only time to create a product: given enough time, I will have something to show for it. I know what I want in the end: to define a brand that is uniquely me. Whether that involves creative license over an existing label, or creating my own, it does not matter. To manage that, however, I need to find my process; understanding fashion construction requires working with the materials over a long time. For the moment, let us define my art as fantastical and romantic—slightly altered and cropped versions of reality. My images are emotions and colors on canvas; they are nothing more, nothing less. Others may try to define them, force meaning upon them. For now, while they are in my hands, why define them?
- ItemKelsey Power Fine Arts Senior Thesis Project(2012) Power, Kelsey; Kim, Hee SookI recognize a certain irony in illustration as an art form because its existence and inspiration are predicated on the written word. Though I believe art points to beauty and must stand on its own, my work strives to analyze the nature of illustration. Illustration is a play between words and pictures— two art forms—that creates a harmony enhancing the experience of both. Through a visual dialect Art directs us to a re-evaluation of self, creating that ineffable sense of something, anything, everything lacking in the human experience. It reminds us that perfection is a possibility, but that it is not something that has yet been achieved. That ache is why I create art. Beauty shows us ourselves better than anything else. Beauty allows us acceptance. We accept that we will not experience perfection, but the aching and longing for it is worthwhile as well. I was inspired by my reading of Cornish ghost tales and my love of maritime history to tell a story that spoke of my experience as well as displayed it. I chose to allow my artwork to inhabit space outside the confines of a bound book and interact with the reader on a larger and broader scale. I wished to make the world of the story real. My art always strives to connect to the past, and thus utilizes traditional methods and materials to take the viewer into a physical space that invokes that atmosphere. By combining the experience of the reader and the viewer, illustration places both pictures and words in a context that allows for a stronger, more emotional interaction. The scale of my pieces transgresses on the space of the reader to allow them greater access and entrance into the story itself.
- ItemMemoria(2020) Jesup, Sarah; Kim, Hee SookThis elegy in etchings for my grandparents and the life's work that connected them creates a metaphorical portrait of them by illustrating a series of defining moments in the arc of their lives. Each print tells a short story, and the short stories connect to give a more complete portrait of their lives and their hobby (or obsession). I only experienced the tail end of that journey, but in retracing the earlier steps I have come to understand family in a way I hadn't before. The style of the drawings was inspired by my grandmother, Sarah, whose incredibly detailed botanical drawings are displayed in my parents' house. In part, this is my way of carrying on the family tradition. I'm not growing orchids, but I'm following in Sarah's footsteps and transforming this family fascination into another form.
- ItemNacimiento de lo Subterraneo(2013) Hernández, Vanessa; Kim, Hee SookThe myth of the island Patmos of Greece (originally “Letois”, after Artemis, the daughter of Leto) is used as a metaphor in Sor Juana Inés de la Cruz’s Primero Sueño. According to the myth, Selene (the moon goddess), in one of Artemis’s visits, shone moonlight upon the island, found at the bottom of the sea. Through the aid of Apollo, Artemis was able to convince Zeus to shine the light of the sun upon the island and bring Patmos to the surface. The myth puts forth an image that meshes nicely with the theme of Sor Juana’s poem: the process of the awakening of the spirit, in this case through the attainment of knowledge. That idea led to what was to become the plot of the story: Nova, an arboresque female born from the roots of a tree, rises from the ground after moonlight casts upon her place of origin and she embarks on a journey of mental, emotional, and spiritual awakening, only to feel fully alive at sunrise. Let yourself be immersed in my world of trees, underworld creatures, and brief and sweet encounters.
- ItemSarah Whitt Fine Arts Senior Thesis Project(2013) Whitt, Sarah; Kim, Hee SookA conversation with a friend, which likened human yearning to moths drawn to light, inspired my curiosity. I learned moths use the moon to navigate flightlines; a closer light may prompt them to over correct, clustering around globes before spiraling in free-falls. As the moon guides moths through sky, it guides fish through sea. These creatures trust instinct. Both of their forms begin with skeleton, end in scales—intricately armored, yet vulnerable to interference from the human environment. The same scales that flake in fingers compose eyes, fur, tongues and glands—inspiring my object material. Grains of sugar bond in layers constructing my insects. While boiling sugar to a cracking point, I scratch a drawing through the hard ground that films a zinc plate. I drizzle and mold wings and antennae from cooled sugar-glass by hand. An acid bath nibbles my drawing into the zinc. Reheated sugar glues bodies together. I dust the zinc with rosin, bathe multiple times to achieve desired tones. I suspend the insects to swarm around the viewer. I ink and wipe the plates, roll many times with multiple colors, run once through the press. The prints document process. They are static specimens, fossils flattened and preserved. The moths are pinned in their prime beside fish who reveal basic form. In the meantime, the objects process. They move and react, melt and drip, crack and break.
- ItemYou Can't Spell Party without Art(2012) Loewi, Peter A.; Baenziger, Markus; Kim, Hee Sook“Wanna play carpenter? First we’ll get hammered and then I’ll nail you!” The first time I ever lied to somebody and told them I wanted to be an architect, I had just been caught skateboarding in a construction site. I had fallen and my board had gone out through the unfinished walls, so I went downstairs to get it, when there came an angry voice from behind me “What are you doing in my house?!” I panicked, and the first things out of my mouth just so happened to be “I’m very interested in architecture, and I wanted to see how a house was built.” The man was then very nice to me, gave me a tour of his soon to be house, and then told me to be careful because construction sites are dangerous places. While I no longer skateboard, nor really care how luxury houses are built, I do like the space that skateparks create. The performer, performance, and audience are all in the same place. The only other space I can think of that does that are city streets. I love cities. They can simultaneously be aesthetically pleasing, as I try and show in my prints, as well as places for collaboration or competition, like my sculpture “You Can’t Spell Party Without Art”.