Juna Kim’s layered and fragmented works have been galvanized by Dutch painter, Hieronymus Bosch, in particular his intricate and surreal depictions of humanity, and remarkable ability to blend together elements of the ordinary, spiritual, and grotesque.

Rooted in personal experiences and imagination, her human subjects often appear naked so as to avoid any preconceived notions or stereotypes. Expressionless, they achieve a sense of neutrality in a way that reduces racial tension and redefines difference and diversity as strengths for individuals, communities, and societies around the world. As a collective, however, these figures are incarcerated in a state of conformity, forever pressured to suppress desires and mask their true colors amidst the crowd.

Juna’s creative practice begins by collecting a personal archive of drawings, writings and photographs that reflect the affective and material dimensions of her immediate surroundings. Using collage techniques and masking tape to form sharp lines, she houses fragmented moments in time within malleable imaginary spaces that change, merge, and fall apart at will. Evoking curiosity, her works evolve into unconventional worlds that shift with the changing landscape of her life, echoing the architectural patterns, natural forms, and cultural elements she encounters while living in London. In a cathartic fashion, she invites the audience to empathize and connect with the individuals, monsters, and demons within, at the same time glimpsing into an inner world shaped by the eternal beauty and complexity of transition.

In a Village 1 (2024). Color Pencil, Conte and Acrylic on Canvas. 120 × 120cm.

In a Village 2 (2024). Color Pencil, Conte and Acrylic on Canvas. 120 × 120cm.

Stage (2022). Color Pencil, Pen and Acrylic on Canvas. 46 × 46 cm.

In a Village 4 (2024). Color Pencil, Conte and Acrylic on Canvas. 120 × 120cm.

Discover more of Juna’s works in Issue 5 of our magazine!