October 15 – October 27, 2020
Lim Sodam is an artist that lives and works in Seoul, Korea, and who’s’ practice revolves around the investigation of visual imagery that resonates through her daily encounters with media, social interactions, and life events. Sodam’s paintings and sculptures derive from the artist’s subconscious state and present amalgamations of signifiers that become increasingly dynamic the more they overlap and intersect. The artist has used web-based screenshots for many years as a tool to capture erratic thoughts and memories, a practice that has led her to the realization that she, along with her work, live in a co-habited realm of “familiarity and oddity.” This notion has continued to influence her work as she explores various mediums and performative interactions.
A recent venture into ceramic sculpture has since broadened her artistic practice while preserving key interests and removing any former dependence on a single material quality. As a result, the artist’s approach to art production has extended beyond her former inclinations and instead has begun to question the interactivity associated with three-dimensional endeavors. This focus on physicality and synesthesia within art viewership has propelled Sodam to pursue installations that incorporate the oddity of touch as a complementary component to the more familiar visual experiences she has come to associate with painting.
Bio/CV | Artist Website | Available Works
8 x 9.5 x 6.75 in
20 x 24 x 17 cm
임소담은 그림을 그리기 이전 모든 대상(이미지, 자연현상, 사건, 꿈, 내러티브 등)을 무의식 상태로 저장한 후, 기억된 편린들을 끄집어내어 예측 불가능한 그림을 표현해왔다. 작가는 무의식 상태로 향하는 기억의 단서를 포착하기 위해 다년간 스냅사진을 활용해왔지만, 어느 시점에서 한계에 부딪힌다. 순간, 그의 깨달음은 그가 오래 전부터 관심의 대상이었던 ‘익숙함과 낯 설음’의 공존상태를 실현시키는 것에 이르렀고, 이 시도는 우연한 계기로 접했던 도자 매체가 중요한 수단으로 활용된다.
이후, 도자와 회화 두 매체가 경계 없이 유기적으로 연결되며, 나아가 실재하지 않는 구조물을 상상하고 실현시킴으로써 두 영역의 다른 감각으로 확장할 수 있는 가능성까지 확인했다. 결과적으로 그는 눈으로 보는 2차원의 시각에서 촉감으로 전해지는 3차원의 공감각으로, 동시에 프레임 밖에서 여러 시점으로 확장한다. 따라서 경험했던 사건과 내러티브 그리고 감정은 실재하는 다양한 대상들을 통해 예상치 못한 추상의 이미지로 떠오르고, 그 과정에서 겪는 변화의 태도는 평면과 입체, 시각과 촉각 그리고 기억과 형상의 경계를 넘나드는 자율성을 획득한다.
Moss Cloud, 2013
5.25 x 6.5 x 6.5 in
13 × 16 × 16 cm
Before painting, Sodam Lim has saved all objects (images, natural phenomena, events, dreams, narratives, etc.) in an unconscious state, and then pulled out the memorized pieces to express an unpredictable painting. The artist has been using snapshots for many years to capture the clues of the memories heading to the unconscious state, but at some point, she hit a wall. At the moment, her enlightenment came to the realization of the coexistence of “familiarity and unfamiliarity”, which she had long been the subject of interest in. She uses ceramic as an important medium to this attempt.
Afterwards, ceramics and painting are organically connected without boundaries, and furthermore the possibility of expanding into different senses of the two areas by imagining and realizing non-existent structures was confirmed. As a result, he extends from the two-dimensional view to the three-dimensional synesthesia that is transmitted from the eye to the touch, while at the same time expanding to several perspectives outside the frame. Thus, experienced events, narratives and emotions emerge as an unexpected image of abstraction through a variety of real objects, and the attitude of changes experienced in the process acquires autonomy that crosses the boundaries between two-dimensional and three-dimensional, sight and touch, memory and shape.
The bird cage, 2016
12.75 x 11.5 x 11.25 in
32 x 29 x 28 cm