Mira Kim. Hochschule Trier. Selected Graduate 2019
Published: 10.09.2019
Brooch: Houses, 2019
Plastic, silver, gold, brass, fabric.
11.3 x 7 x 4.2 cm
Photo by: Franziska Lusser, Katerina Smirnova
© By the author. Read Klimt02.net Copyright.
The works of Mira Kim enable us to become aware of a magical moment where meanings interlock. Sometimes a backside and a frontside statement are brought together. Always together but never in one view. More often though, pictures are literally cut up, sliced and the old connotations of the photographs are used, on the one hand, to mingle among each other. On the other hand - in the contexts of their constructed forms, they will trigger the brain to form new sensations. Spaces are created; real spaces combining 2 and 3-dimensional forms in ever-changing perspectives - at first. It takes an empathic observer but on second sight Mira’s personal frenzy comes to a halt in our imagination and finally in our memory and then everything falls into place. Thus, the question of contemporariness is answered implicitly.
Mira Kim's jewellery merges connotations in a way it makes one forget to have already been comfortably led out of the daily flood of images. To ponder the discovered space to enjoy an instant of contemplation.
/ Prof. Theo Smeets
Hochschule Trier, Idar-Oberstein Campus, Germany.
Context in Art
Context is the way of looking into an object and understanding the information it contains. This understanding is deeply related to the time, the society, and the objects that an individual experiences. Factors such as generational differences, societal changes, cultural differences, and place of origin all contribute to how an object is perceived. These differences factor into our perceptions of beauty, and the common knowledge of a society. Context is seen as a psychological construct that is unique to the individual. New information is judged through the awareness of the observer and any presuppositions that they may have. Objects are created and developed based on how people understand and learn to shape their environment. Everyday objects and media convey meaning and information. This information includes functionality and intention. Human beings create objects out of individual and societal necessity and desire. Unlike the information conveyed by objects used in daily life, art objects often have far more intention behind them. Context is the key to meaningfully understanding and interpreting a piece of artwork. The process in which art is perceived is accepted by the observer in an effort to understand or criticize an artwork. The artwork has the potential to draw the observer into the world of the artist's intention. Jewelry takes on an additional form of context as it is worn or associated with the body. Where the object is worn and how it is worn adds to the object‘s meaning and story. In this way, jewelry is not an object that is merely wearable; it contains a story formed through various stages of meaning. It achieves a transformation created through the process of the artist, the wearer, and the observer. High-context materials, such as image and text from magazines and newspapers, provide a useful resource to the artist. The information contained within these types of materials has been created for consumer consumption. For example, an advertisement contains information about how society views the world and the educational conditioning the advertiser wants to push onto the consumer. The manipulation of high-context materials can stimulate a reprocessing of information and allows for the opportunity to change the observer's perception. How artwork exists in relation to the world depends on the context in which it is interpreted. For example, the reasons that bring art viewers into the exhibition space, their personal tastes, educational level, and social position greatly influence how they will judge a work. The relationship between the artist, the work of art, and the observer is similar to the process of language. In this way, art acts as a device for message transmission. Because of this, artists must examine their own perceptions of society and the world around them and be aware of the context in which their artwork will be viewed and interpreted.
Name of graduation student: Mira Kim.
Name of the guiding teacher: Theo Smeets, Ute Eitzenhöfer.
More work and contact:
Email: kimmira.mrk@gmail.com
Find out more about the courses at the Hochschule Trier, Idar-Oberstein Campus, Germany.
Context in Art
Context is the way of looking into an object and understanding the information it contains. This understanding is deeply related to the time, the society, and the objects that an individual experiences. Factors such as generational differences, societal changes, cultural differences, and place of origin all contribute to how an object is perceived. These differences factor into our perceptions of beauty, and the common knowledge of a society. Context is seen as a psychological construct that is unique to the individual. New information is judged through the awareness of the observer and any presuppositions that they may have. Objects are created and developed based on how people understand and learn to shape their environment. Everyday objects and media convey meaning and information. This information includes functionality and intention. Human beings create objects out of individual and societal necessity and desire. Unlike the information conveyed by objects used in daily life, art objects often have far more intention behind them. Context is the key to meaningfully understanding and interpreting a piece of artwork. The process in which art is perceived is accepted by the observer in an effort to understand or criticize an artwork. The artwork has the potential to draw the observer into the world of the artist's intention. Jewelry takes on an additional form of context as it is worn or associated with the body. Where the object is worn and how it is worn adds to the object‘s meaning and story. In this way, jewelry is not an object that is merely wearable; it contains a story formed through various stages of meaning. It achieves a transformation created through the process of the artist, the wearer, and the observer. High-context materials, such as image and text from magazines and newspapers, provide a useful resource to the artist. The information contained within these types of materials has been created for consumer consumption. For example, an advertisement contains information about how society views the world and the educational conditioning the advertiser wants to push onto the consumer. The manipulation of high-context materials can stimulate a reprocessing of information and allows for the opportunity to change the observer's perception. How artwork exists in relation to the world depends on the context in which it is interpreted. For example, the reasons that bring art viewers into the exhibition space, their personal tastes, educational level, and social position greatly influence how they will judge a work. The relationship between the artist, the work of art, and the observer is similar to the process of language. In this way, art acts as a device for message transmission. Because of this, artists must examine their own perceptions of society and the world around them and be aware of the context in which their artwork will be viewed and interpreted.
Name of graduation student: Mira Kim.
Name of the guiding teacher: Theo Smeets, Ute Eitzenhöfer.
More work and contact:
Email: kimmira.mrk@gmail.com
Find out more about the courses at the Hochschule Trier, Idar-Oberstein Campus, Germany.
Brooch: Houses, 2019
Plastic, silver, gold, brass, fabric.
11.3 x 7 x 4.2 cm
Photo by: Franziska Lusser, Katerina Smirnova
Back view.
© By the author. Read Klimt02.net Copyright.
Brooch: Houses, 2019
Plastic, silver, gold, brass, fabric.
11.3 x 7 x 4.2 cm
Photo by: Franziska Lusser, Katerina Smirnova
On body.
© By the author. Read Klimt02.net Copyright.
Brooch: Mushrooms (Newspaper Clipping), 2019
Silver, gold, stainless steel, fabric.
8.7 x 6.2 x 2.2 cm
Photo by: Franziska Lusser, Katerina Smirnova
© By the author. Read Klimt02.net Copyright.
Brooch: Peanuts, 2019
Silver, plastic, fabric, silicone.
8.9 x 7.5 x 1.8 cm
Photo by: Franziska Lusser, Katerina Smirnova
© By the author. Read Klimt02.net Copyright.
Brooch: Peanuts, 2019
Silver, plastic, fabric, silicone.
8.9 x 7.5 x 1.8 cm
Photo by: Franziska Lusser, Katerina Smirnova
Back view.
© By the author. Read Klimt02.net Copyright.
Brooch: Untitled (Mammoth), 2019
Gold, silver, brass.
10.5 x 18.7 x 4.8 cm
Photo by: Mira Kim
© By the author. Read Klimt02.net Copyright.
Brooch: Untitled (Mammoth), 2019
Gold, silver, brass.
10.5 x 18.7 x 4.8 cm
Photo by: Mira Kim
On body.
© By the author. Read Klimt02.net Copyright.
Brooch: Venuses, 2019
Silver, plastic.
16 x 14.5 x 1.8 cm
Photo by: Mira Kim
© By the author. Read Klimt02.net Copyright.
Brooch: Venuses, 2019
Silver, plastic.
16 x 14.5 x 1.8 cm
Photo by: Mira Kim
Alternative view.
© By the author. Read Klimt02.net Copyright.
Brooch: Venuses, 2019
Silver, plastic.
16 x 14.5 x 1.8 cm
Photo by: Mira Kim
On body.
© By the author. Read Klimt02.net Copyright.
Brooch: View, 2019
Silver, gold, plastic, fabric.
18 x 9.5 x 1.8 cm
Photo by: Mira Kim
© By the author. Read Klimt02.net Copyright.
Brooch: View, 2019
Silver, gold, plastic, fabric.
18 x 9.5 x 1.8 cm
Photo by: Mira Kim
Back view.
© By the author. Read Klimt02.net Copyright.
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