Sang Woo Kim at Sébastien Bertrand

Glance / Ways of Seeing

Sang Woo Kim

Sébastien Bertrand

June 6 - July 20, 2024

Sébastien Bertrand is pleased to present Glance and Ways of Seeing, two solo shows that introduce Sang Woo Kim’s (Seoul, 1994) work for the first time at the gallery.

I believe that artists should have a dialogue between their life experiences and what they choose to present as their art. Through my art, I seek to delve deeper into my own being, thereby gaining a greater understanding of the world around me. All my work stems from my life story and social experiences, and from the ‘otherness’ imposed upon me while growing up under the Western gaze in a world marked by discrimination and prejudice. It’s an exploration of my essence, autonomy, and identity.  

Glance delves into the relationship between image and physicality, identity and existence. These forward-facing self-portraits, ‘looking outwards’, aim to provoke or protest. They help me confront myself physically, dwelling on the insecurities developed through my experience of discrimination and racism based on the way I looked. They are also a reclamation of my image and identity, something I still have no agency over due to my occupation as a model.

I believe in the notion that the artist is the art, and the artworks are the by-product of the artist. It’s about how and why: how the artist translates, and why they present their art. I don’t necessarily believe in medium as a vessel for the artist; I believe the artist is the medium.^

This show leans towards portraiture in a traditional sense. Portraits were meant to convey status and power, but they also represent beauty. Using this traditional context and flipping it on its head by painting my Asian features is provoking. It’s a sort of protest. It’s almost awkward, as historically portraits of Asians were rarely painted in this Western style – which I believe is due to the lack of representation and diversity in the Western art world. The self-portrait paintings are somewhat provocative – they are ‘in your face’ to the viewer. The juxtaposition this carries is visceral in facing myself as well; I become my own viewer. I focus on my eyes – the very feature that has been the locus of discrimination – which allows me to own, overcome, and, in turn, celebrate and reclaim. Glance serves as a direct challenge to the viewer; the titles speak to them, provokes them. This show portrays the journey of self-discovery, empowerment, and assertion, and is an invitation to confront the complexities of identity, perception, prejudice, and representation in our society.

I don’t consciously think I’m making a change or that this is my way of proving diversity. First and foremost, my work is meant to help me navigate the world. Then, through my lens and experience, perhaps people like me will be able to relate and others, to be able to realise. My artistic practice embodies a delicate balance of inclusion and exclusion, reflecting the complex interplay of identity in a society shaped by systemic biases. Understanding the pervasive influence of systemic racism was a gradual process for me, particularly its pressures on minorities to assimilate. Third culture kids are almost a separate entity in themselves. The longing for a sense of belonging is so real – the duality that stems from feeling ‘other’ is very difficult to explain without experiencing it. Growing up in the UK, this dynamic was so ingrained in the fabric of society that I hardly noticed it, nor did my parents who immigrated in their thirties. I lived a life in which I would be put in a box and treated other unless I conformed and assimilated. Even today, this comes to haunt me in ways I can only try and resolve through my work.

I used to reject modeling for various reasons rooted in my struggles with image and identity politics. The discrimination I’ve faced throughout my life never allowed me to truly confront myself. The self-portraits entail a vulnerability that is very real, and therefore mean that I can take agency over my image and identity, which is something I never had. Through the act of painting with my own hands, I represent myself the way I want to be seen – not glorified, but matter of fact. Confronting myself in an honest approach is immensely liberating. It allows me to reclaim control, which is something that ultimately makes me proud of who I am. It makes me feel more me, and I believe that’s what making art should make one feel. Self-discovery and understanding stem from vulnerability. It means being brave and unapologetic, being yourself, and just be. Posing these questions within Glance is to represent that we are all one in our shared humanity, but also in the universal experience of feeling isolated in one’s identity. The ’self’, ‘me’, ‘I’ are universal words used by everyone. These self-portraits are a mirror; one should reflect on themselves when seeing them.

We are different people every day, constantly changing and adapting – I feel this reflects in the way I paint. Different energy and emotions carried in different days of my life and being. That’s why all the works feel and are different, varying in style and scale. They are glimpses of myself, not revealing the whole – just yet… As I become more of myself – the artist – the more I intend to reveal of my face, body, autonomy. The consistency, however, still lives in my image. Conceptually speaking, there’s an irony - one can only recognise my work through the physical subject rather than the style of my painting.

Ultimately, it boils down to being present. I rarely concern myself with others’ perception of me, nor do I fully trust my own self-perception. This may sound paradoxical given the forward-facing nature of my practice, my life, and my occupation, but the only way I can achieve this is by maintaining a state of presence. This is precisely why I’ve turned to self-portraiture with Glance. After years of grappling with embarrassment over my image I had no control over growing up, then being reduced to a mere physical entity by society’s gaze, and being haunted by countless misrepresentative images of me, I realised the necessity of reclaiming agency over my own image, my identity, and myself. All these experiences have helped me understand myself better, but ultimately, they have made me more present – the only state where I believe you truly understand yourself.

– Sang Woo Kim, 2024

Closer 006 2024 Oil on wood panel 50 x 45 x 3 cm./ 19 ¾ x 17 ¾ x 1 ¼ in. Courtesy of the artist and Sébastien Bertrand.
Closer 006 2024 Oil on wood panel 50 x 45 x 3 cm./ 19 ¾ x 17 ¾ x 1 ¼ in. Courtesy of the artist and Sébastien Bertrand.
Sang Woo Kim: Glance, 2024. Photo : Annik Wetter, Courtesy the artist and Galerie Sébastien Bertrand
Sang Woo Kim: Glance, 2024. Photo : Annik Wetter, Courtesy the artist and Galerie Sébastien Bertrand
Moment of 009 2024 Pigment dye transfer on canvas 42 x 32 x 3 cm. / 16 ½ x 12 ½ x 1 ¼ in. Courtesy of the artist and Sébastien Bertrand.
Moment of 009 2024 Pigment dye transfer on canvas 42 x 32 x 3 cm. / 16 ½ x 12 ½ x 1 ¼ in. Courtesy of the artist and Sébastien Bertrand.
Sang Woo Kim: Glance, 2024. Photo : Annik Wetter, Courtesy the artist and Galerie Sébastien Bertrand
Sang Woo Kim: Glance, 2024. Photo : Annik Wetter, Courtesy the artist and Galerie Sébastien Bertrand
Clearer 004 2024 Oil on canvas 35 x 45 x 3 cm./13 ¾ x 17 ¾ x 1 ¼ in. Courtesy of the artist and Sébastien Bertrand.
Clearer 004 2024 Oil on canvas 35 x 45 x 3 cm./13 ¾ x 17 ¾ x 1 ¼ in. Courtesy of the artist and Sébastien Bertrand.
Sang Woo Kim: Ways of Seeing, 2024. Photo : Annik Wetter, Courtesy the artist and Galerie Sébastien Bertrand
Sang Woo Kim: Ways of Seeing, 2024. Photo : Annik Wetter, Courtesy the artist and Galerie Sébastien Bertrand
Sang Woo Kim: Glance, 2024. Photo : Annik Wetter, Courtesy the artist and Galerie Sébastien Bertrand
Sang Woo Kim: Glance, 2024. Photo : Annik Wetter, Courtesy the artist and Galerie Sébastien Bertrand
Ways of Seeing 005 2024 Pigment dye transfer on canvas 155 x 41.5 x 3 cm. / 61 x 16 ¼ x 1 ¼ in. Courtesy of the artist and Sébastien Bertrand.
Ways of Seeing 005 2024 Pigment dye transfer on canvas 155 x 41.5 x 3 cm. / 61 x 16 ¼ x 1 ¼ in. Courtesy of the artist and Sébastien Bertrand.