Kim EunJu is an artist who explores the sensorial conditions of existence through the deceptively simple act of drawing with pencil. Her practice is not concerned with the depiction of visible forms, but with tracing time, repetition, and disappearance—phenomena that unfold quietly across the surface of her works. Each line, drawn and redrawn, becomes an accumulation of breath and gesture, forming an archive of temporality rather than representation.
While her early drawings were rooted in the human figure, Kim gradually shifted her focus toward more elemental rhythms found in nature—such as the sea, wind, and later, the flower. These subjects are never treated as static objects. Instead, they emerge as energetic traces or invisible currents—phenomena sensed rather than seen. Her flowers, for example, are not botanical illustrations, but rather formations of breath, becoming, and vibration. In this way, her drawing operates not as expression, but as presence-in-practice—an act of inhabiting time with the hand.
The pencil, for Kim, is not merely a medium but a translator of immaterial time into material form. Her surfaces are formed through patient, almost meditative labor—a rhythm closer to that of breathing than of painting. What results is a space where the visible and the imperceptible converge, where lines do not describe but reveal the conditions of impermanence.
Crucially, Kim's relationship with nature is not metaphorical but ontological. The sea, the mountain, the air—these are not backgrounds or motifs but agents of mutual resonance. This post-anthropocentric sensitivity allows her work to engage with contemporary discourses on ecology, time, and embodied perception, while maintaining a deeply personal, almost ascetic stillness.
In Kim Eun-Ju’s drawings, there is no spectacle. No fixed form. Only the continuous process of becoming—quiet, layered, and irreducibly alive.