Kim Kil Kwon is deeply interested in making marks. As a painter, as a seal carver, and as a clay artist he scratches and scrawls leaving a record of his philosophy. Many of the images are fish drawn in a manner where they share defining lines thereby making clear their interdependence. Some of the fish not only share their defining lines they share a single eye between 2 fish another example of the interdependence that he feels binds all living things.
Another of Kim Kil Kwon’s main themes is a reworking of ancient script. He carves clay seals which he uses to great advantage on pale ink paintings on traditional Korean paper. Some of the paintings are on the same fish themes which he uses on his clay works but one particularly noteworthy example is a spare tabletop landscape of pots with the brilliant red impression of the seal placed dead center. We listen with great interest to his explanation of the evolution of ancient Chinese script which he feels evolved first on the Korean peninsula and then spread to China. This will probably shock the scholars in Beijing.
Most of his recent clay vessels are without glaze, relying for their surface color on stains wiped across clay accenting the incised lines. The most ancient of techniques, dragging a stick across wet clay, has produced for Kim Kil Kwon a very contemporary way to present and preserve his thoughts.
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