Hair clips and walnuts: Joeun Kim Aatchim's delicate drawings showcased in art exhibit

Arts & Design

Published: 02 Jul. 2024, 14:14

Hair clips and walnuts: Joeun Kim Aatchim's delicate drawings showcased in art exhibit

″Hair Claw Love Theory: Hold Tight, Leave No Marks″ by Joeun Kim Aatchim [GLADSTONE GALLERY]

A woman’s best friend is not her significant other — it isn't a family member nor her friend.

Rather, according to 35-year-old artist Joeun Kim Aatchim, it’s a handy claw clip.

“This very accessory holds up the hair when clamped with its prongs, but at the same time, doesn’t irritate the scalp or even create creases in the hair,” she said. “It’s the perfect type of relationship for a girl.”

Claw clips have become a recurring motif in the artist’s drawings, like “Hair Claw Love Theory: Hold Tight, Leave No Marks,” now on display at Gladstone Gallery in Gangnam District, southern Seoul.

Titled “Minimally Invasive,” it’s Aatchim’s first exhibition in Korea. The Korean-born, New York-based artist’s real name is Kim Jo-eun. But, she’s added the Korean word for “morning” in her artist name, in reference to the hanja (the Korean name for Chinese character) for “jo” in her name.

The prime figures in Aatchim’s paintings and drawings on silk are women, recollected from the artist's memory, that come from a background of growing up with two sisters and graduating from an all-girls middle school and high school.

“I feel the greatest joy when I draw people,” she said recently during a press conference at the gallery, adding that she prefers to be called a draftsman. “I don’t have any references except for my personal experiences, and with drawings, I’m able to sketch until I am able to position my figures just the way I want them to.”

It’s why drawing is a state of contemplation for Aatchim. It’s relatively easy to see what sort of edits were made in drawings, unlike other mediums. This ultimately gives a glimpse into the thought process of the artist.

″Thirst, My Opioid Night″ by Joeun Kim Aatchim [GLADSTONE GALLERY]

The figures in her drawings are blurry, stemming from Aatchim’s own struggles with sporadic strabismus, which at times can obstruct her perception of depth. The delicate silk background, sometimes in layers, adds to the drawings’ ultimate translucent ambience.

“It’s like even when someone close to you, like your mom or pet, is turning their back against you, you can still somehow infer their facial expressions,” she said. “That sense of transparency is what I strive for in my drawings.”

For a keen observer, the walnut motif also appears regularly in Aatchim’s works. She uses walnut ink, which helps darken her drawings to make them look vintage, and her “Before the Savior (Kneeled Nutcracker)” bronze sculpture is a nutcracker in feminine form.

The artist had surgery to cure her nutcracker syndrome, a rare vein compression disorder, and her hospitalization period was when she decided to use the walnut in her drawings.

This experience also alludes to the title of the exhibition, “Minimally Invasive,” which reflects her wish to leave an intense impression with the tiniest idea possible — in this case, the walnut.

“I’m shy about using bold colors,” Aatchim said, sheepishly.

“Minimally Invasive” continues until Aug. 3. Gladstone Gallery is open from Tuesdays to Saturdays from 10 a.m. to 6 p.m. The exhibition is free.

BY SHIN MIN-HEE [shin.minhee@joongang.co.kr]