An Interview With Hanna Mi Kim

Hanna Mi Kim is a Korean visual artist based in Singapore. Her body of work is heavily inspired by her personal experiences, cultural background and Korean heritage. She constantly pushes her artistic practices and explores various colours and styles ranging from abstract to minimal styles as a way of showcasing her understanding of time, space and culture.

Can you tell us a little bit about you?

I am a self-taught Korean artist based in Singapore, specializing in minimalist paintings inspired by Dansaekhwa.

What is your artistic process and how has it evolved since you began painting?

My artistic process is deeply rooted in the exploration of the natural world and the intricate emotions it evokes. My journey began with a spontaneous curiosity sparked by my environment and personal experiences. Initially, I embraced the freedom of abstract art, using bold colors and dynamic strokes to express my inner feelings and reflections on nature's beauty and chaos. Over time, my process has evolved into a more meditative and contemplative practice, particularly influenced by the Korean Dansaekhwa movement. This evolution was marked by a shift towards minimalism, focusing on the essence of my subjects and exploring the depth of simplicity. The "snow echo technique," which I developed, embodies this phase of my artistic journey. It involves applying layers of paint to canvas, then selectively removing portions to reveal the underlying textures and colors, mimicking the serene and ephemeral quality of snow. This technique allows me to engage more deeply with the canvas, each stroke a deliberate and thoughtful action that connects me to my work on a profound level.

Can you tell us more about Dansaekhwa and how you have been utilising it in your recent work?

Dansaekhwa, the Korean monochrome painting movement that emerged in the 1970s, has profoundly influenced my recent work. This movement emphasizes minimalism, meditative repetition, and the use of natural materials, engaging deeply with the texture, color, and essence of the medium itself. Dansaekhwa artists focus on the process of making as much as the final product, often incorporating the philosophy of doing by not doing, allowing the materials and actions to express their inherent qualities and meanings. In my recent work, I've been utilizing the principles of Dansaekhwa to explore the themes of nature, tranquility, and the fundamental connections between the earth and humanity. This has involved a deliberate and mindful approach to my materials and techniques, emphasizing the importance of each stroke and the space it occupies. My "snow echo technique," developed through my engagement with Dansaekhwa, captures the movement's spirit by applying and then partially removing layers of paint. This process creates a textured, minimalist surface that invites contemplation and offers a tactile sense of the natural world.

Where does your love of the Korean Landscape come from and how do try to portray this emotion in your art?

My love for the Korean landscape is deeply entwined with my earliest memories, where the essence of Korea's natural beauty was imprinted on my soul. Growing up, my childhood view of Korea was one of expansive simplicity and serene beauty. The landscape was relatively unmarred by the dense urbanization seen today; instead, it was dominated by the vast, open skies, under which mountains rose majestically, rice paddies stretched endlessly, and small buildings or houses dotted the horizon. This visual simplicity, where nearly 70% of the country is mountains, offered a view filled with space, inviting contemplation and a deep sense of peace. These childhood memories, where the natural world was a constant and comforting presence, have profoundly influenced my art. The mountains, which could be seen from almost anywhere, represented stability and permanence, standing as silent witnesses to the passage of time. The rice paddies, with their cycles of growth and harvest, symbolized the rhythms of nature and life itself. Even the small houses, nestled within this vast landscape, spoke of human existence in harmony with nature. In my work, I strive to capture the emotional resonance of these memories. The use of minimalist landscapes in my art is not just an aesthetic choice but a way to convey the emotions tied to these simple yet profound visuals of my childhood in Korea. Through my paintings, I attempt to recreate the sense of space and serenity that marked those early experiences. The mountains are more than just physical forms; they are symbols of resilience and quiet strength. The open fields reflect the endless possibilities and the cyclical nature of life, while the skies and clouds above evoke a sense of freedom and boundless potential. My artistic process is an attempt to translate these emotions onto the canvas, inviting viewers to experience the same sense of calm and introspection that the Korean landscape inspires in me. Through my art, I hope to convey the deep love and reverence I hold for the landscapes of my childhood, offering a glimpse into the spaces filled with so much beauty and peace.

What is the importance of colour in your work?

Color in my artwork is a critical element, deeply intertwined with the expression of emotion, nature, and cultural heritage. My use of color is deliberate, aiming to evoke specific feelings and explore the profound connections between humans and the natural world. The earthy tones that dominate my palette—soft beiges, rich umbers—reflect the tranquility and stability of the landscapes that have shaped my memories and artistic vision. These colors, inspired by the Korean countryside, are chosen for their emotional resonance and symbolic significance, representing the essence of earth and life's cycles of growth and renewal. My minimalist approach, influenced by the Dansaekhwa movement, emphasizes the purity of these hues, allowing for a deeper engagement with the artwork. Through this restrained use of color, I invite viewers into a contemplative space, fostering a dialogue between the artwork and their own experiences of nature, memory, and change.

Your earliest memory of art?

My earliest art memories are vividly tied to fairy tales. As a child, I translated these magical stories into drawings, capturing characters with big, expressive eyes, long curly hair, and intricately detailed dresses. These sketches, filled with imagination and wonder, were my first steps into the world of art. They taught me the power of storytelling through visuals and sparked a lifelong passion for creation, blending fantasy and reality on paper.

Who or what is your biggest artistic inspiration?

Agnes Martin's minimalism, Eva Hesse's tactile forms, and Alexander Calder's motion inspire me, alongside walking in Singapore's Botanical Garden and meditation practices. This combination of influences and activities fuels my day and artistic exploration.

Are there any particular artists that you are currently enjoying?

Yes, lately, I'm truly captivated by the work of Park Seobo, especially his 1970s Dansaekhwa series 'Ecriture', which masterfully combines graphite and paint in a meditative exploration of space and form. Similarly, Lee Bae's charcoal works have a profound impact on me. The meticulous process he undertakes to create his charcoal from massive tree trunks strikes me as a ceremonial or ritualistic act, infusing each piece with a deep sense of dedication and reverence. Both artists, through their distinct materials and methods, embody a commitment to the process that deeply resonates with my own approach to art, emphasizing the significance of the act of creation as much as the finished product.

What is your favourite book or film and why?

My favourite books are penned by Kazuo Inamori, particularly "A Compass to Fulfillment" and "Heart." These works hold a special place not just on my bookshelf but in my life, as I keep them next to my bed, returning to their pages frequently. Inamori's profound insights into life, fulfillment, and the essence of human heart and perseverance resonate deeply with me. His philosophy, blending business acumen with spiritual depth, offers guidance on living a life that's not only successful but also meaningful and aligned with one's values and passions.

Are you working on any new projects you are particularly excited about?

Yes, I am currently engrossed in a project titled "Heulg," which translates to 'Earth' in Korean. This project is a deep dive into the essence of the earth element, exploring its vastness, resilience, and the profound tranquillity it embodies. "Heulg" is particularly exciting to me because it marks a confluence of several aspects of my artistic journey—melding my affinity for the minimalism and meditative qualities of Dansaekhwa with my passion for working with natural materials like Hanji paper.

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