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Painting is silent poetry, and poetry is painting that speaks. Simonides




As we co-exist with unpredictable complexities in our everyday life, my art making process sustains me to encapsulate the hybrids that have assisted me for many years. These accumulated particles are utterly wrought through the chronic basis of my entire life. They seem randomly constructed and never appear to be related to one another. I am totally composed of these diminutive irreplaceable pieces that are irregularly mingled. These erratic elements and the physical dilemma of mine have been obvious resources in manipulating my sensibility, which now allows me to perceive and detect these daily complexities.

 I expend the momentary images from daily accidents to convey my aesthetic notions. They are impacts and/or revelations, which have always been some sort of sparking plug for my inspiration. These transitional afterimages are completely stilled in time, frozen in anecdotal ways for my art making process.  I am not interested in approaching these hybrids with “Collage” form of physically visible procedures.  I’d rather chase them in the company of drastic and highly mastered formal treatments. Therefore, my paintings are equally juxtaposed with daily life in the formal aspect. I pursue revealing the metaphysics of natural phenomena.

 I use fine marks, not necessarily for constructing shapes or describing the plasticity of the image depicted, but to discard illusionary characteristics. I do not trick the process of my work with smudged illusions that are decorated by some intensities of chroma. In other words, I do not have any intention of manipulating paints or the surface of picture planes to create a rich painterly fantasy. I direct my brush marks to dissect the substance of the subject matter. So they are distributed by particles of hues, implied equality, and applied by other formal commands for their necessities. These marks may be conceptual, but to me it is narrative calligraphy.

Jinchul Kim, an associate professor of art at Salisbury University, has been a resident of Maryland since 1996. Kim was born in South Korea and came to the U.S. in 1989. He earned a BFA and MFA from King Se-Jong University in Seoul Korea concentrating on painting. In 1993, he received another MFA from the School of Visual Arts in New York City. He shows his work internationally, including locations like Korea, Japan, France, Spain and the U.S. He has had 27 solo exhibitions in New York, Florida, Virginia, Maryland, Delaware, Seoul and over 300 invitational shows and group exhibitions.

He was selected as the Artist of the Year for 1986 by Art Journal magazine in Seoul, Korea. In 1995 he received “Phyllis H. Mason Grant” from Art Students League of New York in New York City. He received the honor of “Individual Artist Award” which is a biannual statewide event from Maryland State Art Council in Baltimore, Maryland in 2006. He also received the honor of “Artist Grant” from The George Sugarman Foundation in Novato, California in 2005. His one of solo exhibitions was an invitational show at the Federal Reserve Board in Washington D.C. 2002.

Kim currently teaches 400 level of painting and drawing classes at Salisbury University as head of painting and drawing area. In 2008 he earned the University System of Maryland’s highest faculty honor: the Regents Faculty Awards for Excellence in Teaching.

1992 Masters of Fine Arts Mixed Media and Installation School of Visual Art, New York City, NY 
 1987 Masters of Fine Arts Painting King Sejong University, Seoul, Korea 
 1985 Bachelors of Fine Arts Painting King Sejong University, Seoul, Korea 
 93-95 Art Students League, New York City, New York: Figure Studies 
 1990 Long Island University (C.W. Post Campus), Brookville, NY: MFA 
 89-90 Fairleigh Dickinson University, Rutherford, New Jersey: English Studies

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