Yena
Kim
Bio
Yena Kim
Yena Kim is a visual artist who explores three-dimensional forms through the lens of traditional craft and materiality. Through intuitive, repetitive weaving of rattan reed and clay, she pushes the inherent boundaries of her media. She earned her B.F.A. from California State University, Long Beach (2021) and her M.F.A. in Furniture Design and Woodworking from San Diego State University (2025). Her sculptures have been exhibited in various juried shows across San Diego, including the California Center for the Arts, the Bonita Museum & Cultural Center, and the San Diego Central Library. She is currently based and working in North Los Angeles.
Pieces
Number of items found:
8
Artist's Statement
Uncanny Garden evolved from a single basket-weaving technique, a method that guides the entire process and shapes the woven forms. This specific technique serves as a parameter for exploring different variations of these abstract forms.
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Rattan reed, the natural material I use throughout the installation, is most typically associated with products like wicker chairs. Their durability and lightweight nature make them ideal for utilitarian purposes. In my work, I use this conventional, functional material, in a sculptural context, giving it an unexpected identity.
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The basket-weaving process is both structured and spontaneous. My technical confidence allows for a quick setup, granting the freedom to explore the material. I am drawn to the rhythmic tension that feels both stiff and soft at the same time. Each strand carries its own memory of its first placement, which influences how it bends, resists, or yields to my hands.
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I appreciate both the predictability of repetition and the endless choices: when to break the weaving pattern or allow the inherent qualities of reed to guide my hands as I work with it rather than against it through force. I do not control the material but rather listen to it and accommodate the process. This “collaboration” with reed unfolds infinite possible outcomes, embracing the unknown, which is the most exciting part of making. This collaboration is crucial, as the process itself becomes as essential as the outcome. Each woven piece was largely dictated by the physical realities of the material, process, and space as they inspired and spurred the next one. Positioning each piece in relation to the environment and the negative space between them, I constructed a landscape reminiscent of both the known and the unknown—perhaps even the imagined.
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The Ropes, multiple elements spread throughout the space, surround each woven form, functioning to either secure, decorate, or become part of the work itself. These individual Ropes are intentionally positioned in response to the others, creating a visual and conceptual cohesion. Through this intentional arrangement, each sculpture comes alive, forming a dynamic interconnected system that evokes tactile exploration and emotional resonance.
Rather than delivering a fixed message, the installation is meant to unfold slowly, inviting viewers to engage in an immersive environment where form, space, and presence intersect.