The Second Asia-Pacific Triennial of Contemporary Art exhibition catalogue (APT2)

Kim Joon was born in Seoul and studied painting at Hong-lk University in South Korea. Since his inclusion in the '11th Korean-Japanese University Exchange Exhibition' at Osaka College of Art in Japan, 1989, Kim Joon has participated in over twenty group exhibitions. His solo exhibitions include 'I Love It' 1994, 'I Love It' 1995 and 'Tattoo' 1995. If Kim Joon must be categorised, he should be categorised as an artist who uses and applies objects. However, it should be noted that his use of objects differs from that of other artists. For Kim Joon, the object not only exists as physical matter, but also as a medium for expression. This unique interpretation of the object had its starting point on the canvas. Like many of his contemporaries, Kim Joon rejected the academic notion of 'painting' as a purely two-dimensional medium, but retained at least, the very essence of painting. His work process involves cutting a board to a rough shape, overlaying it with foam, covering the foam with fabric, and then forming a shape by stapling the fabric down to the board.The finished object is essentially a modified version of the canvas. However, the object, which may already be regarded as a sufficient artefact is taken much further than a merely clever handiwork by Kim Joon. Kim Joon transforms his work into 'art'. In the early years, he simply used the tactile quality of such objects as intestines, and added simple colouring to the surface. Although his early attempts were not constructed with a concrete focus, the irregularly– shaped cushions successfully conveyed an animalistic feel and image. But Kim Joon desired a more direct metaphor and concrete focus in his works, and consequently, the themes of sexuality and violence emerged. It was from this point that he began to make objects with definite shapes. Images of body parts: sexual organs, anus, forearms and cut-out flesh-and their innate and violent meanings-give a remarkably strong impact to the work. Furthermore, tattoos, rather than simple colouring, started to be seen on the soft ll_ndulating surfaces created by stapling. It is here that the formal meaning of the cushion-like objects and the representational meaning of the tattoos– blatant sexual reference, violence, shamanism and death-coincide. Kim Joon pursues a different path from other artists, who rely on mere 'meanings' of an object. His objects combine different aspects of the object; object as meaning, as artefact, and as medium for expression. Kim Joon's works exist as a 'possibility' that presents the contemporary art of a new vision. Chung Han-Jo, Art Critic, Seoul,South Korea Tattoo-Guys 1996 Mixed media with needle Five pieces: 120x40cm (each) I KIMJoon Tattoo Lives and works in Seoul, South Korea A RT I s T s - EA s T A s I A I 65