Kim Joon (b. 1966) received his bachelor’s and master’s degrees from Hongik University’s Painting Department. He began making his name since the Young Korean Artist 1996 of National Museum of Modern and Contemporary Art and Asia Pacific Triennial of Contemporary Art in 1996. He left the public a strong impression with his solo exhibition “Tattoo in My Mind” at Kumho Museum in 1997, which featured body-inspired installations. Since then, he shifted his means of artistic creation from object installation to 3D computer graphics, and his digital-based works have been critically acclaimed at home and abroad. He was invited to the Gawngju Biennale and other international media festivals. He has participated in “Korean Eye” at Saatchi Gallery, London, in 2009; and “Frontiers Reimagined,” a collateral event of the 2015 Biennale di Venezia. His work is also featured on the cover of Korean Eye: Contemporary Korean Art published by Skira. He currently serves on the faculty at the Kongju National University. For the last two decades, Kim Joon has used tattoos as a medium of expressing people’s desires that dominate their minds or just creep into their unconsciousness, defining such desires as a kind of mental tattoo inscribed by society. In his work, the symbols worshiped by capitalistic consumer society, personal or collective ideologies and faiths are expressed as tattoos on skin, indicating the desires of the times. Since 1994, his work has revolved around tattoos on the skin, but in the beginning, it had physical forms as an object, not computer images. He used to make flesh-like objects first by dying a cloth-covered sponge piece and backstitching it, and then he inscribed tattoos on it. Kim, however, began using the 3D Studio Max program in 2004 to create distinctive digital images through diverse modifications and combinations of the disembodied bodies. The delicate forms of human body covered with skins and inscribed designs are virtual image constructed by computer graphics, expressed by pixels instead of brush strokes on a three-dimensional structure. Even though they are computer-generated, they vividly deliver a real-life texture of human skin and form of human body.