Tina Kim Gallery is delighted to return to this year’s edition of FOG Design+Art. Our presentation brings together works by celebrated Dansaekhwa artists alongside contemporary artists from our international roster, many of whom have been featured in recent and ongoing institutional exhibitions.
We are especially pleased to debut works by the Korean fiber artist Lee ShinJa at FOG. Recognized in her home country as a trailblazer within her genre, Lee masterfully weaves intricate forms and vibrant colors into tapestry works that echo the free forms of painting. These works reflect themes of memory and nature, often featuring landscapes inspired by Lee’s childhood in the Korean countryside.
Lee’s tapestries complement the electrifying creations of Pacita Abad, the late Filipina-American artist celebrated for her colorful, embellished painted textiles. Abad was the focus of a highly acclaimed retrospective that began at the Walker Art Center and traveled to SFMOMA, MoMA PS1, and the Art Gallery of Ontario; currently, she is the subject of an early-career retrospective at the Metropolitan Museum of Manila in her home country. Throughout her global travels, Abad absorbed a number of traditional art-making techniques, which are reflected in her mastery of bold colors and textures across her bodies of work.
Our booth will also highlight works by Dansaekhwa masters, whose contributions to Post-War Korean art continue to resonate internationally. This influential generation of artists employed a wide range of techniques focused on process, materiality, form, and repetition, exhibited in Kwon Young-Woo’s innovative use of Korean paper, Kim Tschang-Yeul's obsessive exploration of the water drop motif, and Ha Chong-Hyun’s signature method of pushing paint from the verso of his canvases. Ha will have a solo exhibition opening at Seoul’s Art Sonje Center in February, following the recent exhibition at our New York space that celebrated fifty years of his iconic Conjunction series.
The Korean artist Kibong Rhee similarly experiments with materials, layering diaphanous fabric over his canvases to create fog-shrouded landscapes that invite viewers to reflect on the nature of perception and time. Last year, Rhee held his second solo exhibition at the gallery titled There is no place; the accompanying catalogue, featuring an essay by John Yau, is forthcoming.
Rounding out our presentation are ceramic works by Jane Yang D’Haene, a Korean-born, Brooklyn-based artist who bridges sculpture and design in highly gestural, painterly vessels informed by South Korean pottery traditions. Yang D’Haene redefines the dal hang-ari (Moon Jar) by emphasizing surface texture and expressive glazing techniques, embracing the imperfections inherent to her experimental, handmade process.
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