KIM BO-RA 金保羅

김보라

  • 작가소개 & 평론
    • [작가소개]

      Hongik University Art College, Majored in Textile Art
       
      - Private Exhibitions
      2018 at Art Space Qualia
      2018 at Art Space PLASQUE
      2017 at Small Bookstore Gi-yeok(“ㄱ”)
      2016 at Gallery Giotta
      2016 at Gwak Gallery
      2012 at Gallery Jajaknamu
      2011 at Alternative Space Noon
      2010 at Gallery IS
      2007 at Hanako Gallery
       
      - Group Exhibitions
      2019 Regular Exhibition of Yangpyeong Youth Artist Group, at Yangpyeong Public Art Center
      2019 Outside Art Group, Namhangang Exhibition, Dumulmeori Exhibition
      2017 Daerim Warehouse Gallery, Exhibition of 3 artists
      and many others (over 50)
       
      - Art Fairs
      Gyeongnam International Art Fair (Changwon Convention Center, CECO)
      Seoul Art Show (COEX)
      New York Art Fair (Tenri Gallery, Chelsea)
       
      [평론]

      *The Spirit(魂) of Sewing, the Whereabouts of the Thread(絲).
       
      Several years ago, there was a time when I was embraced in a strange shock when I went to see the private exhibition of Kim Bo-ra, which was held on the alleyway next to Gimmyeong Publishers – the lines(線) were replaced with thread sewing. In painting, if the face(面) is the earth, the line indicates its form, that is, the spirit. The color, which represent the emotion, is what comes next. One can agree on such reasoning without much difficulty, if one analogize why the paintings of artist Park Su-geun were consistent on its gray colors from what kind of reality he had to live in. That is the “real” Korean emotion. When the lines that used to be drawn with a pencil becomes replaced with sewing, it enters into a different dimension – one returns to the emotion of the beads of sweat and tears, from the time when one’s sister or mother used to sew the clothes, stitch by stitch. Here, the line, the color, the form, and the emotion are all entirely melted into one. When her artwork is brought outside, it does not just quit itself at sewing on the paper or canvas; it also sews up the branches and even the empty spaces between them. It is admirably beautiful.
      (written by Lee Je-ha)
       
       박음질의 혼(魂), 실(絲)의행방.
       
      연전 김영사 옆골목의 김보라 전을 보러 갔다가 기이한 충격에 사로잡힌 적이 있다. 선(線)이 실 박음질로 대체되어 있는 것이다. 회화에서는 면(面이 대지라면 선은 그 형상 즉 혼을 말한다. 정서를 대변하는 색채는 그 다음에 온다. 박수근의 그림들이 왜 회색조로 일관하고  그가 살아온  현실이 어떤 것이었는지를  유추하면 이 논리는 얼추 수긍이 간다.그것이 레알한 한국적 정서 인것이다. 연필로 그려지던 선이 박음질로 대체되면 그 때는  차원이 좀  달라진다. 옛 누이나 어머니가 한 뜸 한 뜸 옷을 꿰매던 땀과 한숨과 눈물의 정서로 돌아가는 것이다. 여기서는 선과 색채, 형상과 감정이 혼연히 용해된다. 이 작업이 밖으로 나가면 갖가지 형태의  종이나 캔버스 박음질에 그치지 않고 나무가지와 가지 사이의 허공까지도 도배하듯 꿰매버린다. 신통하게 아름답다.
       
      -이제하
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