About the Work
Sung Hwa Kim captures the sweet silence lurking in shadowed corners, magical moments that beckon only to those who wander, knowing they are not lost but charting the sublime course. In his cinematic paintings, butterflies, lightning bugs, flowers, and the moon are common protagonists, their delicate forms delineated by a mesmerizing, intrinsic glow.
Our new collaboration, I woke up. The Moon is full, so I send my wishes to the universe (2023), is based on Kim’s painting I Still Dream, exhibited during his 2022 solo exhibition at Hesse Flatow (New York) and part of his ongoing Nocturne Series, which began during the COVID-19 pandemic. The series, says Kim, “explores the dichotomy between light and dark through symbolic valences of hope; life triumphing over loss and despair.” The global pandemic stalled our collective hyperactive momentum into a dulled vibration, like the soft electrical buzz of a lone street lamp or the hiss of gunpowder nearing detonation. Kim noticed an opportunity in the then-empty streets and set out as an explorer, traversing New York aimlessly, “like a modern-day flâneur, taking inspiration from regular walks throughout the city, often stopping and taking notice of things that are fleeting and frequently overlooked.”
The ability to be still remains an underrated achievement amidst our regularly scheduled programming, cultural demands that reflect an insatiable appetite. When does forward motion become rote rather than generative? Kim’s work nudges us towards the afterglow — if we’re able to quiet our minds in the certainty of luminescence, perhaps it matters not who fanned the flame.
In this new series of monoprints, Kim charts the gradual gradients of a twilight sky, individually isolating each colorfield to evoke the passage of time. Each print illustrates a differently hued lunar portal, echoing the luminous purity of a singular silhouetted flower nestled in the grassy foreground. Featuring hand-torn deckled edges, I woke up. The Moon is full, so I send my wishes to the universe (2023), mirrors the intimacy of Kim's larger practice while existing in its own reverie, resulting in a wholly unique series that holds space for the poetic power of mindful observation.
Sung Hwa Kim (b. 1985, Seoul, South Korea) has held exhibitions at The Green Family Art Foundation with Nicodim Gallery (Dallas), Hesse Flatow (New York), Cob Gallery (London), Harper's Books (Los Angeles), 1969 Gallery (New York), Steven Zevitas Gallery (Boston), Moskowitz Bayse (Los Angeles), Harper’s Books (East Hampton), M+B (Los Angeles, CA), and The Edge Effect curated by Akili Tommasino at The Katonah Museum of Art (Katonah, NY). Kim received his MFA at the Maryland Institute College of Art and his BFA from The Art Institute of Boston. Kim lives and works in New York City.
Authentication & Resale
Signed, numbered, dated, and titled by the artist en verso. This work is also accompanied by a Certificate of Authenticity signed and numbered by Exhibition A.
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All of our frames are made from sustainably sourced engineered hardwood that is manufactured in the USA. Frames are available in Black or White Matte and Walnut.
Prints are hinged to a conservation quality, acid-free and lignin-free Cellulose matboard, using acid-free polyethylene cloth tape. Each mat’s surface paper is fade and bleed resistant and is attached to a conversation quality foam-core board. Some of our work (typically those pieces with a deckled edge) is floated on the matboard with spacers to separate the artwork from the glazing.
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Any artwork that is floated will be placed in a frame that has a ⅝” wide flat face and is 1 5/16” deep. Work will be floated with a 1” border around it.
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