If you know what you are ' doing well ', most people will probably make a great effort to improve it further. For that reason, it could be to be recognized socially, or simply to satisfy an individual's need for achievement. Then one day I suddenly realize something was going wrong. We will try and review every option but never see it resolved easily. We call it a ' slump. ' It is generally true that it is a common phenomenon among art workers, but in a more comprehensive sense, it is almost entirely true that people live in whatever field they are subordinate to. If you look closely at where you went wrong and what's wrong with it, you will eventually come to the conclusion that it was because you neglected the most basic part. Sticking to the near-linear direction of development during the phase of studying and deepening of something is a product whose flexibility is naturally compromised and not sufficiently threaded. Eventually, when we return to the basics and carefully review the priorities from what we had taken for granted, we begin to get some clues that could lead us to the next stage. Perhaps the best way to " survive " in one's field is to keep repeating patterns. That pattern is very similar to Kim's style of work. His talk of survival is a subject that is likely to expand in too comprehensive a sense, but is constantly expressed through a series of pictorial representations.

"Even though it is an everyday life surrounded by immeasurable uncertainty, it is also part of the present day."
"Living an unpredictable and unguaranteed day is proof that you are living properly."

The main themes of the series are generally focused on the flow of events rather than on space. The dynamic picture captured individually, or unnecessary things based on his time, are not self-censored, but a dichotomy of the image of what the self - censored version of the paint should reveal, and the flat background surrounding it.