PROJECT

_ PUBLISHING BOOK ON Amazon

Wavering Soliloquy is the first collection of poetry in English by interdisciplinary artist Kiya Kim. Rooted in Kim’s ongoing exploration of language, image, and material perception, this work extends her visual practice into the poetic—becoming a lyrical terrain where memory and breath drift freely, untethered to structure or grammar.

This is not a conventional poetry collection, nor simply a book of reflections. It is a composite field of resonance—a sensorial constellation of thirty poetic fragments accompanied by photographic stills. Each image functions not as illustration, but as a parallel gesture: a visual utterance shaped by silence, rhythm, and absence.

Drawing from her background in mixed media, installation, and writing, Kim approaches language much as she does form—through intuition, emotional density, and spatial sensitivity.Rather than seek clarity, she attunes to what slips beyond definition, composing with what resists fixation.

Her poems do not declare; they emerge—fragmented, suspended, embodied.

The book unfolds as a hybrid landscape where text and image co-inhabit the same breath: not explaining one another, but vibrating in mutual presence. It invites the reader to linger rather than interpret—to move not linearly, but atmospherically, where stillness becomes syntax and the unseen begins to take form.

Wavering is not weakness, but an act of fidelity—to the unspoken, the unresolved, the intimately unknown. This book does not seek closure. It offers a space—quiet, tremulous—where the invisible may finally be felt.

https://a.co/d/0yU0T2q

_COLLABORATIONS WITH LEEUM MUSEUM OF ART

_ ALL THAT ETHEREAL PINK _ A PLACE REGENERATION

@collaboration with CAVALAB in 3-12 Hakdongro 53 gil, Kangnam, Seoul 2021

Video Archive

_THIS IS MY LAUGH

Emotional sound was turned into tangible material that could be seen and wearable.

This Is My Laugh is a socially engaged project that began on Chelsea Street in New York in 2017 and has since traveled to Frieze New York, The Armory Show, The Broad in Los Angeles, and The Bass Museum’s Preview Party during the 2022 Miami Basel season.

The project emerged from my search for a way to carry and transform the grief that followed the sudden loss of both my parents at the age of twenty-six. I returned to memories of my father’s unguarded laughter—brief, disarming, and grounding—and began exploring how such emotional traces might be preserved and shared.

In the early stages of the project, I selected small objects from my studio—imitation leaves, miniature bird figures, and other modest elements—and wrapped them like pieces of candy. I carried these small parcels with me and offered them to people I encountered in public settings, inviting them to unwrap the object while saying, “This is my laugh.” Through this simple exchange, an intimate emotional memory became something that could be opened, held, and momentarily shared with another person.

As the project expanded across fairs, museums, exhibitions, and everyday encounters, these exchanges accumulated into a larger social fabric. In 2019, the project culminated in an exhibition in New York, where I produced small pins bearing the phrase “This Is My Laugh” and distributed them to visitors. These pins functioned as wearable traces of the encounter—small, portable carriers of a shared emotional moment.

The project continues to evolve. Most recently, the work has taken the form of wearable necklaces, extending the idea of “wearing laughter” into a new material expression. What began as a quiet gesture with small studio objects has become a growing vocabulary of forms through which laughter is preserved, reimagined, and passed on.

https://www.instagram.com/p/ClHlRdIvaBz/?img_index=3

View this post on Instagram

https://www.youtube.com/channel/UCayK9I505TXNzP6RLL99hzQ

_ WASSAIC PROJECT

@RESIDENCY _ Wassaic, New York 2014

Mixed media / 8.6″ x 14.5″ x7″ / NY / 2014

_ 1ST SOCIETY : Another Self Portrait

@Mixed Media on Readymade dolls, Since 2009 :

A childhood episode in which I abruptly lost my entire dollhouse collection at the age of fourteen left a lasting, unresolved imprint. Years later, I returned to this formative experience and adopted it into my artistic practice as a means of self-inquiry and identity exploration. What began as a personal point of reflection has since expanded into a broader artistic trajectory—one that addresses interconnected personal and social issues and invites audiences to encounter them through evolving material and narrative forms.