Kim Mikyung received her MFA from Parsons School of Design in New York and has since developed a distinctive painting practice that meditates on time, accumulation, and quiet persistence. Represented by Gallery BAEK and Art Project CO., she has been actively exhibiting in Korea and internationally, establishing a sustained and contemplative body of work grounded in repetition and duration.
At the core of Kim’s practice is a process-based approach in which painting unfolds through layering, erasure, and repetitive mark-making. Numbers, lines, and chromatic fields are inscribed, overlaid, and gradually obscured, forming dense yet restrained surfaces that register the passage of time. Rather than conveying narrative or expressive gesture, her paintings embody a slow accumulation of actions—each mark functioning as a trace of presence and continuity.
Kim’s work draws from Korean visual sensibilities rooted in concepts of containment, acceptance, and balance, often associated with traditional textiles such as bojagi (wrapping cloths) and patchwork structures. These references are not literal quotations but conceptual frameworks that inform her compositional logic: fragments coexisting without hierarchy, held together through rhythm and repetition. Her paintings thus operate as spaces of quiet convergence, where disparate elements are gathered and sustained within a unified surface.
Through disciplined restraint and sustained repetition, Kim Mikyung approaches painting as a temporal field rather than an image. Her work resists immediacy, inviting prolonged viewing and attentiveness, and offers a meditative reflection on how time is accumulated, endured, and visually registered. Situated between abstraction and lived experience, her practice articulates a subtle yet rigorous inquiry into painting as an act of persistence and care.
