No. 4 — LOOM

Chapter No. 4

Workshop

What is the final work? Which state do you consider as done? Or the other way around, how about work in process? Does the artist define it? Why not the viewers?

This year’s fourth chapter of LOOM embraces openness and flexibility in the work process. One of the main themes of LOOM is the extension of these questions by sharing private time and space with visitors.

This chapter’s blue square and yellow rectangle on the wall are based on page 60 of Na Kim’s SET publication. These symbols originated from two different occasions, which delve into the diversities of workshops; Graphic #18 Workshop Issue and Your Autobiography.

By twisting Bauhaus’ fundamental symbols into the blue square, yellow circle, and red triangle, Kim presented the new idea of the workshop in learning, sharing, and working together in this Graphic issue.

On the other hand, the yellow rectangle represents the placeholder for individualities in the workshop, Your Autobiography. It was the first workshop initiated by Kim in search of personal objects with memories in the editing process. Until now, Kim has facilitated numerous workshops based on this concept with students.

In this chapter, closing the first year of LOOM and counting on the new year 2023, we leave the wall painting unfinished. Any extra layers will add on during this chapter? Or does any physical workshop take place? Will this chapter show the final work one day? We don’t know yet; just thrilled to imagine the near future.

More about SET

Tracing Kim’s multidisciplinary practice further, a stack of books arranged on Loom’s small table features the SET publication itself, where Kim’s work from the past ten years is exhibited in one paper-y space. This catalogue arranges all designs and artworks by visual element, eschewing production year, medium, commission type, etc. The content in the book has been translated into more than twenty different spatial iterations since 2015.

LOOM’s current wall and floor has been divided into similar proportions as the catalogue, and the works from its pages have been expanded into a large scale mural; in this act, LOOM becomes a set for a performative activity that responds to and reflects the visual elements of Kim’s work. By expanding into the realm of installation and performance, the artist demonstrates the potentials of a cohesive, unified body of work.

No. 5

No. 3