Before painting, Sodam Lim has saved all objects (images, natural phenomena, events, dreams, narratives, etc.) in an unconscious state, and then pulled out the memorised pieces to express an unpredictable painting. The artist has been using snapshots for many years to capture the clues of the memories heading to the unconscious state, but at some point, she hit a wall. At the moment, her enlightenment came to the realisation of the coexistence of 'familiarity and unfamiliarity', which she had long been the subject of interest in. She uses ceramic as an important medium to this attempt.
Afterwards, ceramics and painting are organically connected without boundaries, and furthermore the possibility of expanding into different senses of the two areas by imagining and realiing non-existent structures was confirmed. As a result, he extends from the two-dimensional view to the three-dimensional synesthesia that is transmitted from the eye to the touch, while at the same time expanding to several perspectives outside the frame. Thus, experienced events, narratives and emotions emerge as an unexpected image of abstraction through a variety of real objects, and the attitude of changes experienced in the process acquires autonomy that crosses the boundaries between two-dimensional and three-dimensional, sight and touch, memory and shape.
Press release courtesy Baik Art.