Nanhee Kim

It’s not a coven 2026 Oil on canvas 145x95cm

For those addicted to the thrill of the game, Masochist 2026 Oil on canvas 60x50cm

Presto 2026 Oil on canvas 80x100cm

I’m tasty but Indigestible 2026 Oil on canvas 60x40cm

💈🦷🪥 Nothing to add, so i'll just post my final piece this year - Objects in mirror are closer than they appear 2025 Oil on canvas 130x150cm

정체성의 놀이가 끝난 뒤 남는 것은 실존의 흔적이다. 반쯤 열린 나무 문 사이로 사막의 모래가 쏟아지고 그 아래에는 해골과 가면이 묻혀 있다. 퍼리들이 걸친 옷은 정체성의 해방이자, 동시에 은폐의 장치다. 자신이 아닌 존재가 되어야만 자신을 표현할 수 있는 그 모순이 앙리 바르뷔스가 지옥(L’enfer, 1908)에서 그린 ‘관찰자이지만 소외된 인간’의 딜레마와 언뜻 비슷해보인다. 그의 소설 속 화자는 벽의 틈을 통해 타인을 '관음'하지만 그것을 바라보는 '관찰'이라는 행위로 인식한다. 사실 그 벽은 그에게 세상을 보여주는것이 아니라 그를 세상으로부터 분리시키는 장벽. 그는 끊임없이 바라보고 관찰하지만 그 누구와도 관계를 맺지 못한다. 인간적 경험을 감각으로 이해할 수 없고 그 인식이 깊어질수록 고립도 깊어진다. 결국 그가 말하는 지옥은 죽음과 삶을 객관적으로 바라보는 일에서 오는 ‘허무’였다. 벽 너머의 시선이 고립을 낳듯, 쏟아지는 시간의 모래는 자아의 경계를 무너뜨린다. 죽음의 인식은 희화화되고, 정체성은 그 유희 속에 소비된다. 
이 장면 앞에서 나는 허무함을 느끼나? 아니면 또 다른 삶의 잔향을 느끼나? - Memento furi, 2025 Oil on canvas 195x100cm

I worked on the cover for @sanjoh_music her first full-length album. Her music is beautiful, go check it out! 🎶🎵 @sanjoh_music 의 첫 정규 앨범 ‘녹청(Verdigris)’의 앨범 커버 아트를 작업했습니다. - The bloom within 안에서 피어나는 꽃 2025 Oil on canvas

Is a holiday like putting on sunglasses and pretending having fun, while deep down it feels like stuck alone in the dark underground? that’s exactly what holidays are like for this potato. Holiday, 2025 Oil on canvas 41x53cm

Today, ‘Where the Dough Folds Inwards’ a duo show with artist and my friend Alisa Tsybina(@alisatsybinastudio ) at Sender(@sender_126 ) quietly turned its final page. To everyone who came to the Finissage, shared food with us, and filled this moment with conversation, my heartfelt thanks. Looking back, I realize only now that this was the last chance to show my most recent paintings in Germany before returning to Korea. Marking this ending as a threshold, I will pause for a moment, catch my breath, and step into a new chapter of life. When the stage lights fade, what remains, in the end, is people. Perhaps that is why this exhibition feels especially meaningful to me. To have spent this time with those who love my works and truly understand me as a person has been my greatest happiness. Last but not least, my deepest thanks to Jenni(@jennischurr ) for bring this gathering and making it possible.🫶🏼 - I will keep posting my paintings, so please keep following along!

Resting, 2025 Oil on canvas 120x155cm This is one of the works featured in the show “Where the Dough Folds Inwards” with @alisatsybinastudio at @sender_126

Alisa Tsybina & Nanhee Kim “Where the Dough Folds Inwards” is an exhibition grounded in the emotional connection built between Alisa Tsybina and Nanhee Kim. One of their earliest moments of connection took place at the common studio space on the table, sharing and tasting each other’s homemade dishes. This act went beyond simple taste it unfolded into an experience layered with memory, emotion, and personal history. The exhibition title, “Where the Dough Folds Inwards”, serves as a quiet metaphor for this process. Just as dough folds into itself layer by layer, holding air, tension, and time the artists’ paintings carry inner histories shaped by both personal and collective experiences. While the works are not explicitly about food, they reflect how small, intimate gestures like sharing a meal can spark deeper conversations around identity and belonging between two artists from different national backgrounds. Each painting holds emotional traces and layers of memory, expressed through the artists’ distinct visual languages. Through these works, viewers are invited to move between shared sensations and divided memories, witnessing the ways in which personal and national narratives become intertwined. - During the finissage, a communal table will offer small servings of foods once shared in the studio, such as dried seaweed, anchovies, light snacks, and drinks representing each artist’s cultural background. This gesture does not compete with the artworks but rather echoes the quiet moment of exchange that sparked the dialogue at the heart of the exhibition. You are warmly invited to bring along a small food that holds meaning for you something you love, something from your own memory. Place it on the table as a way of folding your story into ours, one taste at a time. Eröffung Do, 7. August 19:00 Uhr Öffungszeiten 8.-10 August 15-19:00 Uhr Finissage dinner So, 10. August 17:00 Uhr SENDER, Billhorner Deich 126, Rothenburgsort

Breastfed 2025 Oil on canvas 65x45.5cm 🧜‍♀️🤱🌊 This piece finds its origin in a memory of my mother. Her hands immersed in water, clad in ‘Mami-son’ rubber gloves, gently rinsing seaweed as bubbles bloomed between her fingers. It weaves together the Korean tradition of eating seaweed soup after childbirth with the image of Venus emerging from sea foam an echo of birth, ritual, and rebirth. Drawing from the myth of Venus, born from the severed genitals of Uranus, I sought to merge personal memory with mythic origins, layering domestic intimacy with ancestral symbolism. 마미손 고무장갑을 끼고 미역을 헹굴 때 엄마의 손에서 피어오르던 거품들의 섬세한 움직임에서 출발한 작업입니다. 출산 후 미역국을 먹는 한국의 전통, 우라노스의 잘린 성기가 바다에 던져지고 그 바다의 물거품 속에서 태어난 비너스의 이미지들이 겹쳐지며 탄생과 의식, 그리고 다시 태어남에 대한 모티프를 저의 개인적 기억과 오래된 신화적 기원을 겹쳐 표현하고자 했습니다.