Magazine
A legacy-driven media platform documenting Korean excellence in culture, economy, and identity
By Seina Heo, Editor
Folk art that embodies the joys and sorrows, longevity, wealth, and prosperity of ordinary people is more than just an outdated painting; it is a traditional art form that encapsulates a millennium of wisdom. One artist reinterprets this heritage with boundless imagination, creating works in multiple dimensions. Artist Jinok Kim, known for her vivid colors, searches for dreams and hope in the realms of reality and the unconscious. Her work is a testament to this journey.
Could you introduce yourself, please?
Hello, I am Jinok Kim. I was born in Seoul and graduated from Kyung Hee University with a degree in clothing and textiles. I immigrated to the United States and worked as a pattern maker and textile designer. After marrying in 1996, I became a full-time housewife. My career as an artist began in earnest with a group exhibition in 2012.
Folk art reflects the emotions of ordinary people, symbolizing joy, sorrow, longevity, wealth, prosperity, and protection. While its origins lie in ancient Goguryeo murals, most surviving pieces date back to the late Joseon dynasty. In Korea, folk art is categorized by purpose or artistic value. Its size and style vary greatly, utilizing materials such as paper, hemp, silk, and pigments derived from plants or oils.
Types include hwajodo (flowers and birds), chochungdo (plants and insects), and morando (peonies symbolizing wealth), among others.
I initially focused on oil paintings. However, after visiting a folk art exhibition, I became fascinated by it and decided to learn more.
Folk art’s charm lies in its vibrant colors and its strong depiction of humor and satire rooted in our cultural sentiments. While emphasizing functionality and decorating living spaces, the simplicity allows for personal creativity and artistic value.
My current work detaches from concrete forms or purely planar perspectives. I'm preparing abstract shapes that explore new textures and details. Additionally, I'm envisioning a unique genre combining oil painting with traditional folk art.
The creation involves seven stages, starting with a bansu process, where a transparent layer is applied for better paint adhesion and color preservation. After sketching, ink lines are drawn, followed by coloring and shading, known as barium or gradient creation. It concludes with finishing and backing for preservation.
In July, I held a solo exhibition at the 4W 43 Gallery in Manhattan, New York. The interest in folk art, its techniques, materials, and themes was greater than expected. Many visitors had prior exposure to Korean traditional paintings. The global interest in folk art seems to be growing, supported by efforts to preserve and promote it.
I've been dedicating most of my time to art recently. I've participated in multiple group exhibitions and held a personal exhibition at La Velle Gallery in Seoul in 2018. In 2019, I was honored as an outstanding artist by the Korea Traditional Culture and Art Association and have since been active between New York and Seoul.
My journey is not just about presenting art to the public but also about exploring my subconscious dreams. Residing in Englewood Cliffs, New Jersey for 15 years, I aim to organize exhibitions in local libraries or cultural centers to introduce traditional culture. I also aspire to collaborate with cultural organizations globally to foster artistic exchanges.
A graduate of Kyung Hee University, Jinok Kim began her artistic journey through numerous group exhibitions. She received accolades in oil and folk art categories at the Korean American Traditional Culture Art Association in 2015 and has been actively engaged with exhibitions in New York and South Korea.
