Description

In this original work painted exclusively for this edition, a figure is depicted repetitively in mid-stride, with one hand clutching flowers while the other shades its brow. The form of the work is evocative of the Victorian-era phenakistoscope, a device used to conjure illusions of moving image. 

Cindy Ji Hye Kim's nod to this mechanism invites a deeper dive into the realm of the uncanny. While the figure on the disc is intended to flow seamlessly in motion, in stillness they appear as fragmented frames of halted moments. The notion of "rigor mortis" fits poignantly, suggesting a transformation from what was once vibrant to something eerily motionless.
 

About the Artist

Cindy Ji Hye Kim (b. 1990, Incheon, South Korea) lives and works in New York City. She received her B.F.A. from the Rhode Island School of Design in 2013 and her M.F.A. from the Yale University School of Art in 2016. Her recent institutional solo exhibitions include Silhouettes in Lune, Savannah College of Art and Design Museum of Art (2024); Sand in the Hourglass, Kunsthall Stavanger, Stavanger, Norway (2022); Cindy Ji Hye Kim, MIT List Visual Art Center, Cambridge, MA (2020). Her gallery solo exhibitions include presentations at François Ghebaly, Los Angeles; Casey Kaplan, New York; Helena Anrather, New York; Cooper Cole, Toronto; and Rodolphe Janssen, Brussels. She has shown in numerous group exhibitions, including those at the Frye Art Museum, Seattle; Jeffrey Deitch, Los Angeles; David Lewis, New York; Marianne Boesky Gallery, New York.

Kim's works are held in the public collections of the Los Angeles County Museum of Art, Rhode Island School of Design Museum, Sifang Art Museum, collection of the University of Chicago and Collection Majudia in Montréal.