Jungin Kim, who was selected for the emerging artist support program for exhibition 2022, began his work for Image Union by projecting and collecting images stirred by surplus objects and alienated places. In the collection process, he garnered images by wandering, which are stored on the web and hard drives as pictures. Then, they are integrated with the artist’s distant memories and the sense of alienation, weaving a tight web of the union on the canvas. Image Union presents paintings that capture the moment union arises from such a network of images. Jungin Kim's images, introduced as individuals of society, possess an active quality that occupies the canvas to overcome or overthrow the ruling system. At the same time, they propose audience to resist subordination. This encourages a ‘resistance mechanism’ against the constantly changing domination mechanism. Image Union presents about 20 paintings by Jungin Kim.

Attributed to his tendency of being slow to warm up to new things, Jungin Kim collects objects used far past their retirement, places a sense of alienation, and crushed trees in photographs, then mixes them with blurred memories to build a network of relationships between images. Kim focuses on the scene of alienation (and dominance) that invisible power exerts on individuals through images and paints the mechanism of resistance as a way of defying power.
Kim’s major exhibitions include Solo Exhibition Record of Fragments(Sungkok Art Museum, 2022), Image not able to be melted by harsh waves of change(Leeungno Museum, 2021), Standing firm on unsolid ground (Onsu Gong-Gan, 2020) and Group Exhibition NANJI ACCESS with PACK: Mbps(Seoul Museum of Art, 2022), I don’t have a air bladder(Gallery Kiche, 2021), ART 369(Platform-L, 2021), Flexible Space(Space55, 2019), The things that were shining below(Openspace Bae, 2019) Also, Kim directed the year-long exhibition cut, cut, cut project (Saetang Raum _ AlltimeSpace) in 2020.