No Privileged Position



The faceted paintings might be said to investigate ideas about shifting points of view. They are constructed in a way that attempts to keep the eyes moving, allowing them to alight upon certain moments where they might attempt to make sense of the space. In general, though, these paintings present no privileged position and invite the viewer to make up their mind about where they might want to go with them.

The swirling fragments have a lot to do with how I understand space, my interest in how things and shapes are defined at their edges, and the tension caused when edges get close or meet to define both or neither.

The paintings usually begin with loose black and white sketches where I decide the basic movement I want in a painting. Once a mark is made on canvas and color is introduced the paintings become more about the search to achieve a sense of kinetic balance. Using hand-cut masks and hand-made paint applicators I begin blocking in colors, a few a day, allowing myself at the beginning and end of each session some time to decide how I might want to approach things in the next session. Canvasses are routinely rotated to provide differing points of view to make more obvious glaring disharmonies. Where flat background tones have been applied they have been done at the end instead of the beginning of the process to allow the facets to retain their luminosity.


I draw by feel. I have an acute awareness of what I choose when I draw the lines I draw. With any mark comes illusion, between any two lines stress. For these drawings I make no sketches. When I put two lines together they affect each other and all the space around them. Everything here is optical and yet it is visceral, it is felt bodily. When I feel these stresses they help me make my decision about where to put the next mark. Following this process to the end brings the drawing coherence.

The architectural structures presented with this series are there to contain space, provide a framework and a subject matter. People have feelings about these structures. They are places where people go to define meaning in their lives. While I am offering no real commentary on them, they offer a means for the beginning of a conversation. They are a way to introduce words into the conversation without using words.



Mison Kim was born in Seoul, Korea. She emigrated to the United States when she was 19 years old and was awarded a National Talent Scholarship, among others, which enabled her to attend Pratt Institute where she received both her BFA and MFA (1997). Kim is a creative consultant providing design and illustration services for several fashion companies. During this time she has continued to work on her own drawings and paintings and most recently, four of her architectural drawings were selected for the exhibition Worlds of Wonder at the Samuel Dorsky Museum of Art.

Kim lives and works in Greenville, New York with her husband and daughter.