MULTI-LAYERED MATERIALS: EXPRESSING EMOTIONS THROUGH SILK, WITH SUBIN KIM

Subin Kim is an artist working primarily with silk textiles, paper and ink.

She was born in Korea and emigrated to China as a teenager and much of her culture and background has informed and affected the ways in which she processes emotions and experiences. Some of these multi-layered emotions are expressed in her art which she says is improvised, spontaneous and intuitive. 

YOU GREW UP IN KOREA AND HAVE LIVED IN CHINA, PARIS AND NOW BERLIN. HOW HAVE THESE DIVERSE CULTURAL EXPERIENCES INFLUENCED YOUR PERSONAL AND CREATIVE PATHS?

Those experiences were incredibly challenging. The process of adapting to a new culture and language is undeniably difficult. Looking back, my move to China during my teenage years stands out as a particularly traumatic experience for my mental health. It wasn’t always smooth sailing in Berlin and Paris either.

Recently, I’ve developed a deep fascination with how the brain operates. I’ve been particularly intrigued by the mammalian brain, which processes emotions and memories. It’s remarkable to consider how much of what we see with our naked eyes is processed within our brains without our conscious awareness. I believe that the various things I saw and experienced in these countries have influenced me to some extent, although I can’t definitely say whether those influences are positive or negative. However, through my paintings, I believe that they often reveal a significant aspect of my subconscious.

CAN YOU SHARE MORE ABOUT THE TRANSITION FROM FASHION DESIGN TO PAINTING? HOW DOES YOUR BACKGROUND IN FASHION INFLUENCE YOUR APPROACH TO ART? 

From the beginning, my focus has always been on integrating my paintings into garments. Naturally, I’ve felt compelled to enhance the details that I paint onto the fabric.

My background in fashion has undoubtedly influenced my approach to art. For instance, the mounting skills I’ve developed bear a striking resemblance to interlining in garment-making. Additionally, I have a strong sense of form, concept, and series when it comes to artwork.

YOUR WORK INVOLVES GIVING WORN SILK GARMENTS A SECOND LIFE THROUGH PAINTING. WHAT DRAWS YOU TO THIS SPECIFIC MATERIAL?

Once, I was deeply engrossed in a book introducing Kierkegaard and delving into his thoughts on art. The book briefly touched upon his concept of three life stages: the aesthetic, centered around pleasure and immediate experiences; the ethical, involving moral duties and societal norms; and the religious, dealing with the relationship between oneself and God, I suppose. While my understanding is quite surface-level, when faced with this question, I immediately envisioned myself as undeniably fitting into the aesthetic category. I never tire of the gentle and sensation that silk material brings. Working with silk is a pure pleasure for me, especially the contrast before and after ironing, which always manages to surprise me.

HOW HAS LIVING IN BERLIN INFLUENCED YOUR ARTISTIC PRACTISE? ARE THERE PARTICULAR ASPECTS OF THE CITY THAT HAVE MADE A LASTING IMPACT ON YOUR WORK? 

I grew up in a very typical Asian household – with responsible and hardworking parents, a cultural emphasis on suppressing emotions, and a tendency to be generous with criticism but not with encouragement. However, living in Berlin made me realize the impact of different upbringings as I interacted with diverse people. These interactions, whether resulting in empathy or conflicts, prompted me to contemplate communication on a deeper level.

Berlin, initially just a European city to me, became a place where I have friends and a partner whom I care deeply for. It’s also the space where I spend most of my time reflecting on my identity, my communication style, and eventually discovering my own core. The city’s progressiveness and open-mindedness have undoubtedly facilitated these experiments and made me feel secure in doing so.

CAN AND SHOULD ART PLAY A ROLE IN PROMOTING MINDFUL CONSUMPTION?

While I don’t wish to limit artists from experimenting and exploring different materials and expansive spaces for artists contemplation, I personally believe that certain considerations can play a significant role. In my case, I always take into account the decomposability of the artwork – it’s a peculiar ritual of mine. Before creating any artwork, I dedicate time to vividly imagine my pieces biodegrading in the earth, eventually transforming into soil.

HOW DO YOU KNOW WHEN A PIECE IS COMPLETE AND READY TO BE SHARED WITH THE WORLD?

When it is crispy dry, technique-wise. 

I typically work in an improvisational manner. I seek the moment when I’m prepared for a burst of action and concentration, and once it’s done, the work is ready. If the improvisation doesn’t go well, it won’t be shared with the world.

DO YOU HAVE ANY RITUALS IN YOUR LIFE OR WORK?

Yes, indeed. As I mentioned, I imagine the way my artwork decomposes in the earth. However, when it comes to my life, I don’t have any specific rituals.

WHAT MIGHT 2024 BRING?

The year 2023 was defined by „anger“ for me. It was an emotion I discovered profoundly and it significantly influenced my artwork. Every element of my paintings underwent the influence of this emotion. Validating the presence and existence of this emotion liberated me in many ways, propelling me into the next stage, which is “consistent yummy feeling.“ This will be my primary focus for 2024, and I’m looking forward to it.

 

 

*Subin is wearing frames from the Yun LITE Collection