B  I  O

Marble Surface

Hyunsoo Alice Kim is a multidisciplinary artist, researcher, and educator based in New York, and Seoul. Her art practices are rooted in three sectors: her personal experiences as a “modern nomad”, historical research particularly on Korean Aesthetics, and her expertise in material development. Her research trajectory lies in craftsmanship, technology, sustainability, convergence, and its social impact. 

Her unique art and research works have been invited to numerous international exhibitions and conferences including the U.S., Japan, Korea, Hong Kong, Germany and France. She is also a recipient of Myers Art Prize, HGA Research Scholarship, and Ministry of Education Research Grant (South Korea).  

 

Hyunsoo holds a BFA in Textiles from Rhode Island School of Design and an MS in Textile Design from Philadelphia University. She also studied at Parsons School of Design (AAS Fashion Marketing) and Central Saint Martins (MA Textile Futures) in London, UK.

 

She is currently an Ed.DCT (Doctor of Education in College Teaching) candidate, a third-year makerspace/ sculpture studio fellow, and an adjunct instructor at Teachers College, Columbia University. Before coming to Columbia, she was an adjunct professor at Ewha Womans University and Seoul Women’s University for seven years.

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A R T I S T    S T A T E M E N T

Marble Surface
Marble Surface

Research on Korean Aesthetics started as a process of finding her own cultural roots when she returned to Korea after several years of study-abroad experiences. Not only it became research foundation of her art forms, her art practice started to evolve around the theme of Korean Aesthetics.

 

Kim defines Korean Aesthetics as 1) harmony with nature, 2) beauty of curves, 3) practicality (efficiency), 4) modesty, 5) sustainability, as it is commonly found in other forms of Korean traditional culture- from music to fashion to architecture.

1) Beauty of Curves x Harmony with Nature I: Reconciliation with Nature Collection, 2012

Kim’s early works portray the beauty of curves in nature, the lessons learned from nature, and reconciliation with nature. Through the integration of Jacquard computerized weaving and heat-reactive dyes, the artist visualizes the interactions between sunlight and temperature and how those transforms based on the intensity of each element.

 

2) Beauty of Curves  x  Harmony with Nature II:  Backwards Collection, 2014

As an extension to the aesthetics of curves collection in 2012, this second collection is inspired by Antonio Gaudi’s quote, ‘Straight lines belong to humans, curves to God.”

 

Utilizing various digital fabrication technology, including computerized looms, knitting machines, heat-reactive wires and 3-D printers, the collection presents Kim's interpretation of beauty of nature through three-dimensionally engineered textiles.

 

3) Beauty of Curves  x  Harmony with Nature III:  Morning Glory, 2018

Morning Glory is a transformative garment inspired by Biomimicry. Biomimicry is design innovation inspired by nature (Benyus, 2002). This lightweight, fluid transformative artwear is able to demonstrate  two levels of biomimicry: it not only mimics form and shape, but also imitates movement of a flower, bloom and wilt.

 

4) Modesty  x Practicality:  Woven Moonjar Collection, 2016~

The Woven Moonjar Collection revamps the traditional ceramic moon jar through the eyes of textile artist. The collection applies various light-weight materials and construction techniques from textiles while at the same time honoring traditional ceramic moon jar construction methods. The idea of practicality and transportability emerged from her own countless experiences of moving and packing large artworks and fragile pottery— from continent to continent—what Do Ho Suh (1962–) calls “a modern nomad.”

 

5) Sustainability x Practicality x Social Justice : Sustainable Leather Collection, 2019~

The Sustainable Leather Collection highlights issues behind fashion and textile production. Even at this moment, unethical production is polluting the air, water, and soil, at the same time impacting lives of animals and human beings. The focus of this on-going research is to, 1) raise public awareness on critical issues (artivist perspective), 2) suggest energy efficient, ethical and sustainable leather production through digital technology, fiber science and biofabrication (merchandiser, designer perspective) , and 3) call for integration of sustainability and holistic education in all levels of education (educator perspective).