Herry Kim Interview
“I had to unlearn what I was taught to find the vitality of my own soul again.”
Q1. Your work moves between analogue and digital mediums. How do you decide which medium a concept belongs to, and when do you let them overlap?
As someone who grew up experiencing both a purely analogue world and rapid technological change, I’ve always been fascinated by the boundaries between the two. I work with painting, sculpture, and digital media, and each medium demands that I explore its unique nature.
Sometimes I begin with a specific subject and then choose the medium that best serves it. Other times, I start by immersing myself in the qualities of a particular medium—researching, reading, and experimenting—until the direction becomes clear. The overlap often happens naturally, especially now, when analogue and digital realities are so deeply intertwined.
Q2. Many of your paintings sit between the imagined and the real. What personal experiences first led you to explore this space?
I came to realize that the world we live in is filled with both sadness and beauty. I wanted to create a space where hope and tenderness could exist within that tension, which led me to explore liminal spaces—the in-between.
I believe the new generation resonates strongly with this idea. My aim is to reveal what exists beyond dualities. For me, imagination becomes the building block of reality. Today, digital and analogue are inseparable, and I hope that human technologies can ultimately contribute to a more harmonious world.
Q3. Your visual language feels playful, yet your themes deal with hope, resilience, and anticipation. How do you keep emotional weight without losing softness?
For me, making art is like a prayer. Through my work, I want to reveal human truth and warmth—something I’ve been fortunate enough to witness in my own life.
Finding hope within myself and returning it through art is central to what I do. I think artists, much like religious people, are constantly observing both the good and evil in the world and striving to contribute to the good.
Recently, I’ve been drawn to the calmness of the Eastern ideal world. That influence helps me maintain softness in my work. Over time, I’ve also developed healthier ways to manage my emotions, which allows me to hold emotional depth without losing gentleness.
Q4. You have exhibited in Seoul, Los Angeles, London, Berlin, and Barcelona. What differences have you noticed in how audiences respond across these cities?
When I exhibited in London, I was told that my work feels “very East Asian.” That comment intrigued me because I’ve been reflecting deeply on my cultural identity.
My recent solo show in Seoul received more attention than I expected, which was incredibly meaningful. It’s always fascinating to observe what different audiences gravitate toward. Children often respond enthusiastically to the more experimental pieces, while adults tend to prefer the refined and polished works. These contrasts reveal how layered interpretation can be.
Q5. You studied painting, sculpture, and art technology. Which parts of formal training shaped your practice most, and which rules did you have to unlearn?
I always wanted to be a painter, but my university education pushed me strongly toward conceptualism. My formal training was rooted in Western conceptual thought, which initially expanded my perspective. However, over time, it began to feel hollow—as though I was losing the vitality of my own soul.
Recently, I’ve been on a journey of unlearning those rigid structures and reconnecting with my Korean roots and the Eastern ideal of harmony. Returning to painting and ceramics is not simply a revival of tradition; it’s about infusing Shin-myeong (신명)—a sense of divine joy or spirit—into physical form.
I want to live in a world of colors and forms that breathe. Unlearning Western frameworks and embracing a Korean way of thinking feels like the beginning of a very meaningful journey.
Q6. You have upcoming solo shows in Seoul and New York. How is your current body of work evolving compared to your early exhibitions from 2019 to 2022?
My earlier works were heavily conceptual, often centered around installations and media-based projects. Eventually, I reached a point where that approach began to feel hollow, as if the artistic vision was dissolving into abstraction.
I’m deeply grateful that I stepped away before it drained my creative energy. Now, I’ve returned to the fundamental life of painting, drawing, and ceramics. My upcoming shows in Seoul and New York will celebrate color, form, and the tactile presence of dolls and clay.
I intend to continue living and creating within this vibrant, soulful world—it feels like home.
Q7. Many of your figures feel like quiet explorers. Do you see them as reflections of yourself, or as proxies for the viewer—and why?
“Smile,” my recurring persona, serves as both a reflection of my inner self and a proxy for the viewer. I created this protagonist as a gentle guide into the possibilities of the universe.
I want people to recognize themselves in Smile—to become quiet explorers of their own inner landscapes and rediscover the pure joy of creation through my work. Ultimately, it’s about creating a resonance that goes beyond the individual and connects us all.
Bio:
Herry Kim is a contemporary Korean artist working across painting, sculpture, ceramics, and digital media. Her practice explores the space between analogue and digital realities, blending imagination with emotional depth.
Originally trained in Western conceptual art, Herry has since embarked on a journey of “unlearning” to reconnect with her Korean roots and the Eastern ideal of harmony. Through vibrant colors, tactile forms, and her recurring persona “Smile,” she creates works that invite viewers to rediscover hope, tenderness, and the quiet joy of creation.
Interviewed by: Abhishek Rath
Edited by: Shantanu Singh
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