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Eunsol Kim

MA work

Passed Away

Passed Away is an installation of a room consisting of lights and sound. The rusted room itself is a sculptural object containing ones memory. As entering the room, the surrounding sound invites us to one’s personal history. Through the experience provided along the narrative, we can explore the status of somewhere in between sympathy and empathy, haunting and confusion between us and the narrator.

Info

  • MA Degree

    School

    School of Arts & Humanities

    Programme

    MA Contemporary Art Practice, 2018

    Specialism

    critical-Practice

  • As a visual artist, I create environments, atmospheres and surroundings. The derivative of my work branches from the emotional roots of longing which can be conceived from personal experiences through the passage of time. My work represents notions of memory as the powerful, while at the same time as the obscure, as often memory is something that cannot be delineated by a solid material or an absolute image. 

    However, memory exists as the ground of our every moment. Within the catalytic cycle of an encounter, remembering, and arousal, memory is repeatedly engrained, distorted, and forgotten in the similar ways how whenever one attempts to get closer to the absolute image, the vaguer it gets. My work represents that memory is best described as the ungraspable, which perhaps could make it more desirable. 

    I attempt to store what cannot be stored, and by inviting the audience into my endeavor, I desire to evoke their own attempts. I hope to minimize my suggestions of what to recall and what to embed yet, at the same time provide sufficient atmospheric material allowing the audience to fully immerse in their own recollections and emotions triggered from them.

  • Degrees

  • BA Fine Art, Korea University, 2016
  • Exhibitions

  • Con-cept, Space Sun+, Seoul, 2016; Are You Ready?, Museum of London, London, 2017
  • Publications

  • The Second Engineering Building; continuous memory without substance, 96 pages, 2017; Critical Practice; Practical Crisis, 2017, pp. 22–23