Starting with the first exhibition, "DNA" (Vibrant Gallery, 1998) in New York, the artist has shown experiments in various methods, including material-based painting, light, installation, objet, and print. Her work goes through four major transformations. The first was the period from 1998 to 2007 when she experimented with morphological expression, from creating form-based objet with the physical properties of earth to repeating and overlapping patterns. The second was until around 2014, when she experimented with the installation of slip casting half sphere bowls, which is her trademark, and light. The third is when the series of works, "color inside color," is shown in complete form with planes and objets built with fragments and planes in her work, starting with slip painting in 2015. Lastly, it is time she tries connecting with heterogeneous materials and expands while working on the "color inside color" series since 2020. Of course, the most prominent keynote that runs through these four periods is the aim toward the mysterious and endless elevation and deepening that unfolds on the prospect of material.

Park Namhee

While studying the artist Jiana Kim's journey from 1998 to the present, I think that experiments and expressions that began with a material of earth have continuously led to the art of vital impulses and force for her. Her work, which begins with the material but is regarded to be vitality and energy itself, can be considered in relation to Spinoza's description of all body forces as conatus, giving the body its own vitality.

Leebosung