Interview - Kim Kang Yong, the 'brick painter' who held an exhibition in New York, exhibited hyper-realistic works from the 2010s that began adding color to monotone. He has been working with bricks since 1976. He does not care about anyone's evaluation, so the interpretation of the meaning of his works is up to the viewer. He will continue to draw paintings that stimulate the imagination.
“You can’t force the meaning of a work of art on the viewer. If a painting inspires a lot of imagination, then that in itself becomes a good painting.”
Artist Kim Kang Yong, who is holding the exhibition “Reality+Image: 2010s” at Gallery Chang in Manhattan, New York, said this in an interview with the Korea Economic Daily on the 10th. The exhibition, which runs until the 22nd, will focus on his works from the 2010s.
Kim is known as a "brick painter." He creates his works by sifting sand he collects himself, mixing it with adhesive and spreading it thinly onto canvas. At one point, his paintings were so hyper-realistic that they appeared to be actual bricks embedded in walls. These days, he simply paints with brush strokes, shading them, creating a series of hexagonal shapes. Yet, people still perceive them as bricks.
"Even though I no longer paint bricks, people still interpret them as such," he said. "But I don't try to deny that interpretation."
He simply says he's content if his paintings inspire a broader imagination. "I don't care what others, whether journalists or viewers, say," he said. "In fact, I often learn aspects of myself and my paintings from their interpretations." His philosophy is that he paints faithfully to the visual image, leaving the rest up to each individual to interpret.
He first began painting bricks in 1976. While searching for his own materials and techniques to debut as an artist, he settled on bricks. He was inspired by the construction sites, sand, and bricks that were ubiquitous throughout the industrial era. He poured his affection into each grain of sand. To him, sand was as meaningful as each human being, born with their own unique value.
In the 1940s and 1950s, abstract painters like Jackson Pollock and Mars Rothko were at their peak, but as a backlash, hyperrealism emerged in the 1970s. The art world, contemplating the future direction of painting after abstraction, opted for a "return to reality." Kim's paintings also followed this broad trend.
The works on display in Manhattan were created during his time in New York. Kim, who had been a professor at the Hongik University Graduate School of Fine Arts, came to New York in 2004. He set up a studio in Brooklyn and worked there for ten years.
At this point, Kim introduced a shift in his work. While previously monotone, he began incorporating softer colors. This was influenced by his fascination with the diversity of New York. He stated, "There was no such thing as a single building or a single person," and added, "I wanted to express this feeling in my paintings."
Despite this shift, his work retains a warm image overall. Even in the expression of shade, the natural sunlight is strongly felt. This contrasts with the atmosphere of modern hyperrealism, which often captures the coldness of modern cities, the absence of people, and loneliness.
Kim stated, "I am a positive and optimistic person myself," and added, "My inner self inevitably comes through in my paintings." He expressed his hope that opportunities like this exhibition would allow him to continue his international activities. He confessed, "Most artists my age have retired, but I still want to paint. I still have a desire to surpass my teachers."
Gallery Chang has been showcasing Kim's work since February of last year, helping visitors gain a broader understanding of his oeuvre. Next January, Kim's work will be exhibited alongside works by American abstract painters Andy and Ed Moses.
by. Park Shin-young nyusos@hankyung.com / https://www.hankyung.com/article/2025101508211