Kim Inbai, Things Modeled on 2, 2019, resin, dimensions variable.

Kim Inbai, Things Modeled on 2, 2019, resin, dimensions variable.

Kim Inbai


Kim Inbai titled one of his monographs Eliminate Points, Lines, and Planes (2014). That would be a bold commandment for any artist, but for one who works in the traditional media of sculpture and drawing, it reveals a truth so wise that very few ever grasp it, and those who do can rarely accept it: that to align yourself with the impossible is the only position worth considering.

Much of Kim’s work has taken the form of sculpture, but it has often been fed by drawing. He selects drawings to be turned into three-dimensional objects, and then as often as not draws upon those objects. The resulting works shatter the confines of dimensionality, of perceptive limits. Abstraction thrashes against figuration and, within that figuration, between the human and the animal (in those instances where we’re not one and the same).

Kim’s latest exhibition, consisting of just six works, is a spatial concert

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