Minchan Kim

金潣攢

Minchan Kim has long explored the transformation and evolution of the brushstroke—a core element of painting. In Kim’s work, the brushstroke is no longer a flat trace upon canvas, but a physical, volumetric presence. Thick applications of paint are layered and extended into three-dimensional forms, as if time itself were frozen mid-gesture. Each stroke becomes a sculptural entity suspended in motion.

His practice is the result of extensive experimentation with the interaction between paint and brush. Rather than attempting to depict images, Kim allows the paint to construct its own spatial logic, becoming an entry point for perception and imagination. His vivid colors and dense textures imbue the works with a tangible weight and force, transforming looking into a bodily, somatic experience.

What is especially compelling is that Kim’s brushstrokes are not tools of painting—they are the work itself. This inversion redefines the language of art, deconstructing the history of painting from within. Through a radical directness, he invites viewers to consider: Does painting require a canvas? Must a brushstroke adhere to a surface? His work suggests an open-ended and unrestricted approach to art-making.

金潣攢長年關注「筆觸」這一繪畫核心語彙的轉化與演變。在他的作品中，筆觸不再僅是畫布上的動作痕跡，而是被實體化、立體化的存在。他將厚重顏料以堆疊、延伸的方式轉化為三維結構，彷彿將時間凝結於筆刷之中，每一筆都像是被凍結的動態雕塑。

金潣攢的創作方法論，來自於無數次對顏料與筆刷之間關係的實驗。他並不刻意模擬形象，而是讓顏料自行構築空間，成為感知與想像的入口。作品中的高彩度與物質感，使觀者幾乎可感受到其重量與力道，將「觀看」升級為「身體知覺」的經驗。

更有意思的是，金潣攢的筆觸並非繪畫的工具，而是作品本身。這是一場對藝術語言的逆轉，也是一種對繪畫歷史的自我解構。他以極其直接的方式，讓觀者面對「繪畫是否需要畫布？筆觸是否必須附著於表面？」這些問題，提出一種不設限的創作態度。