Wednesday Kim is a multimedia artist. She studied and worked in NYC for several years. Currently, she is still producing art in her garage. Her work has been shown in “PULSE” NEW YORK contemporary art fair, New York Visual Arts gallery, MANA Contemporary, NJ, Veronese Garden & Gallery, LA, CA, The SPACEWOMB Gallery, NY,The Dock Arts Centre, Leitrim, Ireland,The Onassis Cultural Centre, Athens, Greece, Contemporary Venice, Palazzo Flangini, Venice, Italy.The Goyang Cultural Foundation, South Korea.
An Interview with Wednesday Kim
How would you describe your voice as an artist?
Witty, disturbing and disturbing and disturbing.
You live in North Dakota. Does the city inspire your work?
I currently live and work in Minot, North Dakota. It is a small city with bad weather. My house — actually whole town I guess — are surrounded by flickertail’s holes. And holes are the one thing that inspire me most of the time. They are an entrance and exit, opening and closing, inside and outside at the same time, which is why they are one of the great inspirations of mine.
What would you consider to be your aesthetic, and how does it show itself in your work?
My work involves found objects, assemblage, videos, and a mixture of analog and digital. From digitally mediated video and still collages, to a butt-shaped drum, using ready-made objects, to a basket of boobs and other video collages. My videos last generally only few minutes with alterations. I can say it’s bizarre, impatient, and disturbing, but in a funny way.
Astronomer Carl Sagan claimed that the human tendency to see faces in tortillas, clouds, cinnamon buns, and the like is an evolutionary trait. He writes: “As soon as the infant can see, it recognizes faces, and we now know that this skill is hardwired in our brains. Those infants who a million years ago were unable to recognize a face smiled back less, were less likely to win the hearts of their parents, and less likely to prosper. These days, nearly every infant is quick to identify a human face, and to respond with a goony grin (Sagan 1995: 45).
Incorporating images from my sub-consciousness into my art is the main drive in my artistic voyage. Most of my works are records of my thoughts, interests, dreams and incoherent mixtures of my sub-conscious. I connect the process of making my work with images in my sub-conscious, unwelcome involuntary thoughts, and sometimes, with momentary catharsis.
And the images from these ideas create awkwardness in interpersonal relationships. Hence awkwardness, I believe, has become a remedy for individuals in such a schizophrenic time. The awkwardness in social life and the intimate experience of awkward is one of my materials. I guess a lot of people who have been to my shows; they had the moment, experiencing a catharsis and also feeling awkward to be next to my work.
What does it feel like when you are shooting images / working?
I feel like I become a spectator/observer, trying to peek at the images that I am creating. Almost forgetting that I exist there at the moment.
Describe your relationship with your work.
When we dream, dreams are fulfilling out deepest, most elemental and primitive wishes. All I can say about this is my work is that it is I, me, myself in dream stage.