走在上海的湖边，颜色各不相同的绣球花正值怒放中，意味着接下来的日子黄梅天即将来临。上海，在雨中。浮现出了雨中城市的一道道风景。
金智惠的摄影作品重合N多枚城市的照片，直至城市的风景汇合成一道道彩色的线条，点到线，再到面。在摄影和绘画的结合中，她进行大胆的实验。具象的风景编织出的抽象，留一些具象的点滴，那些记忆中的人、事、物和树，以及那高楼林立。
城市，在雨中呼吸。
Shun 于东京工作室
城市空间 S17
City Space S17
喷墨打印，亚克力装裱
pigment print mounted on Plexiglas
100×150cm, ED 5
2013
Walking along the lake in Shanghai, hydrangeas of different colors are in full bloom, which means the Plum rain season is coming soon. Shanghai, in the rain. The scenery of the city in the rain emerges.
Jihea Kim's photography works overlap many photos of the city until the city scenery merges into colorful lines, from points to lines, and then to surfaces. In the combination of photography and painting, she conducts bold experiments. The abstraction woven by the concrete landscape leaves some concrete bits and pieces, those people, things, objects and trees in memory, and the tall buildings.
The city breathes in the rain.Shun in Tokyo studio.
城市空间 1
City Emotion 1
喷墨打印，亚克力装裱
pigment print mounted on Plexiglas
100×150cm, ED 6
2020
“我的作品是以风景照片为素材的抽象作品，景观有白色的洞或有微小的线条裂缝，我不太确定它是否已破裂，或者它的领土是否被‘松散地’指定。
‘松散’这个词指我的工作态度，它涉及数字的巧合，而不是工作过程。怀着这种‘松散’的意图，我多次任意指定平面的图像区域，每次都通过计算机在平面上进行维度扫描。有时，看起来像表皮下的某些部分似乎被舔舐（再次指定）。现实形象的抽象，是未来拥抱过去的时刻。这是观看的时间，触摸的时间。”
金智惠
城市空间 2
City Emotion 2
喷墨打印，亚克力装裱
pigment print mounted on Plexiglas
100×150cm, ED 6
2020
“My work are the abstract works made of landscape photographs. This landscape is dug with white holes or cracked with minute lines. I am not quite sure whether it is cracked or its territories are ‘loosely’ designated.
The word ‘loosely’ means that my work attitude involves the coincidence of digital in the work, unlike the work process. With such a ‘loose attitude’ intended, I arbitrarily designate the image territories of the plane several times, which are going over the plane dimensionally every time by a computer. Sometimes, however, the parts looking like some parts under the epidermis seem to be licked (designated again). The abstraction of the realistic image is the time of the future embracing the past. That is the Time to See, the Time to Touch.
Jihea KIM
对立面 1、2
Opposite Side 1, 2
装裱在有机玻璃上的颜料印刷品
Pigment print mounted on Plexiglass
108x162cm
2024
“当下的时间通常通过绘画来表达，通过缓慢倒入带有沉淀的液体或溢出到水槽的方式来进行的。计算机在识别图像的尺寸后，将其刺穿并破裂使其平面化。在这样一个平面化的作品上，我，艺术家，用手倒出液体块。”
金智惠
"The present time is usually expressed by drawing on pictures, which is usually made in the ways of pouring liquid with precipitate slowly or spilling to sink. Recognizing the images dimensionally, the computer pierces and cracks them to planarize. On such planarized piece, I, the artist, pour and spill lumps of liquid by hands."
Jihea KIM
变化的瞬间 1、3、4、8
Moment of Change 1, 3, 4, 8
绘画媒介，摄影颜料
Painting medium, Photographic pigment
35×53cm
2024
金 智惠
Jihea KIM (b.1976)
金智惠自本科起读于弘益大学，获得版画系硕士学位与美术学博士学位。目前为弘益大学美术学院版画系客座教授。
艺术家用风景照片制作的抽象画面将时间抽象化，通过绘画颜料流入“时间的纹理”这样的方式和意图，介入到过去、现在和未来的时间，从而揭示了真正抽象的时间。
Kim Jihea studied at Hongik University and received a master's degree in printmaking and a doctorate in fine arts. Currently, she is a visiting professor at the Department of Printmaking, College of Fine Arts, Hongik University.
The artist abstracts time through abstract pictures made from landscape photos, through the way and intention of the paint flowing into the "texture of time", and intervenes in the past, present and future time, thus revealing the truly abstract time.
