Kim Guiline (b. 1936) graduated from the Hankuk University of Foreign Studies before moving to France where he graduated from École Beaux-Arts and The Arts-Décoratifs in Paris where the artist currently lives and works.
Early in his career Kim worked on objectifying the flat surface of the painting and this focus on flatness has continued throughout his career. In the 1960s his works focused on the pure colors of black and white and their respective absorption and emittance of light. In the 1970s he began to compose smaller squares within the square canvas to deepen the monochrome paintings. Later in his career, Kim identified the dualistic relationship of using vivid primary colors and dots as base units.
Kim paintings explore the power and subtlety of transparency using thin layers of paint over sculpted mulberry. Applied to the canvas when wet and carved into furrow-like patterns, the paper embodies the spirit and cultural heritage of Korean culture. Accentuating the tactility and corporeal body of the work, Kim applies paint, slowly building it up in minute accretions. For Kim, the nature of this ground becomes the innate spirit of the work that is highlighted and released by the layering of thin application of paint. Kim describes the surface as being like a skin that captures the act of making. The artist also uses spray paint to subtly highlight the physicality of the surface, a method that engages the viewer’s sense of perception and presents the act of viewing as a kind of visual meditation. Utilizing a technique of removing oil from the oil paint enhanced the notion of flatness and became a trademark of Kim’s work via his mattified canvas.
Kim’s works are in the public collections of the Musée des Beaux-arts de Dijon, Musée des Beaux-arts de Dijon, Musée National d’art modern de la ville de Paris, Centre National d’art contemporain, Centre National d’art et de culture Georges-Pompidou, National Museum of Contemporary Art, Korea, Seoul Museum of Art, Busan Museum of Art and Daegu Art Museum.