Kim chamsae's work comes with a bright, cheerful, colorful, and peaceful feeling. The picturesque shapes and colors of a child give visual pleasure and draw out pure sensibility. However, looking at the title of the exhibition "Anxiety and Conflict", I can't get rid of the idea that it conflicts with the artist's bright images. Of course, the writer's intention and the viewer's appreciation do not have to match. But we'll have to look carefully at the images she's represented in order to hold the hands that the author has given out.

The exhibition "Anxiety and Collision" is a story about the writer himself, and can be seen as a kind of gesture to express his inner self and meet others. The works of this exhibition can be divided into three main categories: works expressing their inner self, images of others looking elsewhere, and installations that invite the artist to his room full of motifs of the work.
Looking at the artist's inner work, which is composed of a rather elegant form, first of all, the artist faces his inner emotions wriggling while bumping into each other. At the same time, it tries to suppress the anxiety caused by the inside of the other side and stare at it clearly on its own, and then embodies it into an image while calmly calming both movements. Then, they go through the process of finding colors, lines, and shapes that match the image they faced to express themselves on the outside, that is, the canvas. Then, he eventually draws the images that he faced and distinguished from the inside so that they fit exactly with his own eyes. The images aligned on the canvas are the images expressed inside the artist and are bright and cheerful as mentioned above, but this is due to the kind of ideas we have or the habit of reading images. The red-drawn image that looks like a flower is not actually a flower, but an image that embodies the sharp state of mind that the writer is unable to face. Can this be simply said to be a discrepancy between content and form? The harder the writer's emotional state is, the sharper the appearance and the more intense the color is, and our heads are arbitrarily sharp, the sharper the line, and the fierceness is read in colorful colors. Rather, it can be said that we arbitrarily matched the discrepancy between what we see and what we want to see. In fact, this happens frequently in everyday life. When we face an object, person, or even situation, we often habitually generalize to impressions imprinted in our experience. Since there is a tendency to organize experiences or phenomena by arbitrarily conceptualizing them, even various and unpredictable personalities are systematized and patterned to organize them. Examples include the distinction between normal and abnormal. We hastily attach the word abnormal to a person who exhibits different behavior or habits. The problem consciousness of this can also be linked to the author's other work groups.

The artist paints images of others looking elsewhere. This is a story about social customs that distinguish normal from abnormal. The six members of the group, who have different fashion and appearance, have different facial colors, unique hair styles, and even have two heads, but everyone looks at different places without fail. He seems to be sitting somewhere to take a picture, but he seems to be avoiding it because his eyes are not facing forward. The author says that not everyone is normal. It's definitely like that in real life, but in painting, it looks somewhat familiar. It is said that the artist collected scribbles or characters she saw in her dreams, but unlike social prejudice, there was no abnormal or normal distinction in the first place. Come to think of it, their eyes look different. It is not their eyes to look elsewhere. They did not avoid the eyes, but rather missed the social view.

In this exhibition, you can see installation works based on the artist's room. No, you can experience it. The bedroom is also the source of the work along with the artist's heart. She often faces confused emotions in a dark cozy blanket, and at the same time, she doubts these disparate emotional states and encourages us to experience them. If the painting moved to the canvas is an emotion of confusion, the reproduced room can be said to be an expression of the feeling of warmth. She reproduces the feelings she faced in her bedroom with the sun-dried cotton "smell," the "darkness" full of the energy of the night, and the "sound" produced to match the atmosphere. Inside the dark room, there are images of the inner world she would have faced at the time, and we are confronted one by one with a flashlight. In that situation where she was in, we would experience some anxiety, conflict, and resolution, and this encounter would be a kind of aesthetic experience.

The reason why writer Kim chamsae drew inner emotions that were at odds with anxiety and conflict is "curious." She says she drew pictures and recorded them as unscientific art out of curiosity about how various invisible emotions affect individual life, behavior, and growth. When it comes to the inside, it can be emotion, memory, or unconsciousness that you don't know at all. Sometimes, you want to think of it or erase it, and you can be angry or pleased. It's not something I can find out on my own, so it's ultimately helpful, but it often causes pain. In order to reveal such an unintentional inner self, the artist must have spent a lot of time focusing on himself, having a hard time, solving it, and focusing again. What we need to do here is to put down our preconceptions for a while and empathize with the image itself, look inside me, and let them resemble each other, so that we can meet beautifully while looking at her invitation.