By Ron Evans
Korean-American, Kyung Hee “Kate” Im brings her unique and powerful work to the MAC Gallery in Wenatchee this month. Im is a sculptor, installation artist, and educator. She taught in South Korea for nine years, and after she received her MFA in Studio Art, she continued to follow her dream to become an artist and educator. Currently, Im is an Assistant Professor at Central Washington University and teaches all-level sculpture courses including installation art and digital fabrication. Also, she is a member of theboard of trustees at Artist Trust in Seattle. Im’s work has been exhibited in many galleries and museums and won several awards in juried exhibitions.
I chatted with the artist to learn more about her work, her background and about the upcoming show at the MAC.
I personally find your work to be surreal in many aspects. You refer to yourself as a sculptor - I’m curious if you would consider yourself a surrealist? Or any of the other sub-categories in terms of intention, style or statement?
I never thought of myself as a surrealist, but I love the works of surrealist artists, and maybe I have been inspired by their work in some ways. I never intended to be a surrealist, but I like the idea of depicting things in not realistic and distorted imagery. I think I am not good at changing images, but I would love to try someday. Someone described my work as figurative art before, so maybe figurative surrealism? I like that [laughs].
My favorite part about well-curated fine art galleries (such as the MAC) is the eclectic and diverse techniques and mediums we get to experience. We, of course, expect to see paintings on the wall or small sculptures on pedestals - but sometimes we see a giant hand suspended by blood red thread which stops us in our tracks. How much (if any) of the initial reaction or impact we, the audience, may feel goes into any part of the concept or installation of your works?
I want the audience to experience the space. I have a work they will have to walk about 10’ to see from one side to the other, a work they cannot approach too close, extended from the ceiling, and they can hear and read something. And, of course, some works will be on a pedestal. I like to share my work and want the audience to walk around and experience the gallery space, and it would be nice if they all enjoy seeing my work.
Before finding your way to sculpture, did you have phases of pursuing any other artistic mediums?
I earned an industrial design degree first, but I did not find any interest in that area other than making processes. After that, when I took my first beginning sculpture class, I knew I could do this forever, and that was the moment I fell in love with making sculpture. Sometimes, I struggled because of my approach to making sculptures using a designer’s perspective, but after finding my artistic voice, I could overcome that problem. I love drawing and painting, but I cannot forget the moment I completed my first sculpture project and how I felt that day.
Are you a sketcher concerning your ideas? Fleshing ideas out onto paper, refining and reshaping them? Or do you work more inside your head, taking those concepts straight to the sculpting phase?
Honestly, I wish I could take my ideas and move straight to the sculpting phase, but I make plans like writing down measurements, materials, the process, and so on. My idea usually hits me at random times, even right after I wake up or right before going to bed. I have a small sketchbook I carry in my bag, and I try to collect any ideas in that sketchbook. My sketches are usually rough, and I write some notes, and that is all I need for the idea sketch process. From there, the completed image is in my head. Since my work involves a digital fabrication process, I need to work on the computer (even though I call myself a sculptor), and that is the time I refine and reshape my images.
What kinds of materials are you using on these larger pieces - the hands, for example?
I used to use lightweight materials like foam, fabric, metal mesh, etc., because I moved a lot. Now, I do not limit my materials, but it depends on the purpose of the work. The hand from Don’t Touch is CNC router cut foam, which is lightweight to help hold with threads. In/Between is also a CNC router cut, and I used plywood to make them stand securely on the pedestal.
Do you ever get to a point where a piece goes from concept to completion only to find you hate it now that it’s existing in real space? If so, would you still exhibit it - see how people respond to it?
I can never tell if my work is good or not until I see the responses from the audience. I think if I really hate the outcome of my work, I will not exhibit it because I would feel embarrassed. I am a shy person, and I am not that bold to exhibit the work that I am not satisfied with just to see people’s responses.
I know a lot of artists don’t care to get too revealing about ‘meaning’ or concepts, but the choice of using the color red to suspend and connect the limbs and body parts is really striking in an organic and seemingly biological way. How much of those kinds of decisions are part of your overall concept vs. in a more aesthetic ‘wow, red really looks good here.” manner?
I have a work called Inyeon which means fate in Korean. I grew up with the mythology “red thread of fate” in which when you are born, red thread is tied to your pinky and that is connected to the person who is destined to you. Using that myth, I started to imagine that we are connected with this invisible and intangible red thread. I believe in fate. People who know me in the past, present time, and the future, are the ones who have another side of my red thread on their pinkies. Connections between mother and baby, family, friends, and colleagues - I believe we have a red string tied to each other and it pulls and pushes our complex relationships. Living in a time with newer technologies, I think our relationships have evolved because of the networking systems (the internet). The wide networking system makes this link even broader and more complicated. Physical distance does not stop us from connecting to each other. You can talk and see someone on the other side of the globe, and you can follow someone via social media. We use our hands to shake hands, hug, and say hello and goodbye, but now we spend a lot of time touching the screen or typing on the keyboard. From all these thoughts, I want to show this complex relationship by using visible red thread and that is why I use lots of thread in my work.
Much of your works are installation, often large, pieces. Does this require knowing the logistics and layout of a particular exhibition space before starting the work? Or are you creating what you want to create and figuring all of that out later?
I made a site-specific installation artwork one time, but usually my installation work can be flexible. Since I use thread, I like the idea of how my work changes each time I install in different spaces. Thread is not an easy material to work with, but I also love using them so much. Don’t Touch was installed with three walls and a ceiling, but if the gallery space is larger or smaller, I will have to use two walls and a ceiling so I can figure out the installation part later since it does not affect my work and concept.
What would you tell somebody who may be new to 3D art (anything other than paintings and prints really) that may help them appreciate the experience of viewing it? Or are you more into letting people fend for themselves in that regard?
I think looking at art is an experience. I highly recommend looking at 3D art and installation art in person because you must experience the space. Especially installation art is meant for the viewer to physically enter the work and bodily respond. We all have different backgrounds, levels of knowledge, and experiences, so I believe everyone’s interpretation can be different, and I think that is a natural thing since the artist is not always present.
Talk about the experience of teaching sculpting at CWU. Has teaching had any notable effects on your own work?
I have wanted to teach since I was young. When students learn skills and techniques, and they use that knowledge to create their work and find their own concepts, it makes me so happy. Teaching pushes me to keep working on my sculpture, and I try to keep researching and keep up with newer methods. I want to be a professor who inspires students, but my students inspire me, too.
Tell us about your exhibit at the MAC in Wenatchee.
I am so excited to have my artwork in the MAC gallery, and this is my second time visiting Wenatchee. I look forward to meeting students and people from the Wenatchee community who love art. I want to thank Scott Bailey, the chair of the Art Department at Wenatchee Valley College, for letting me have my solo exhibition at the MAC gallery and great support.
Anything coming up down the road you’d like to mention?
I will visit the MAC gallery for the opening on Friday, March 1st, and I will have an artist talk on Friday, April 5th. I hope people come out to hear what my work is about. Also, I have one of my installation artworks for Shunpike’s Storefronts program. You can check out when you are in Seattle next time! It will be installed until mid-August.
Taemong: Mother’s Dream is currently on exhibit at The MAC at Wenatchee Valley College and will run through the end of April.
Website: shunpike.org/kyung-hee-im/