Hello students!

Thank you very much for your interest in my work. Unfortunately, I can’t review individual portfolios or answer every questionnaire. My time is divided between teaching, creating artwork, taking on commissions, and now collaborating with my husband on a graphic novel (@meetthesynths)! In order to provide you with the information you need, here are some FAQ’s.


I typically use bristol paper for my graphite drawings and 140 lb cold press watercolour paper if I’m using wet media. My favourite drawing tools are just standard Staedler pencils in 2H, F, B, and 2B. I also really love Omnichrome pencils for extra darkness. Blending stomps and Q-tips are my smudge tools, but I don’t rely on them too heavily because I like the cross-hatching visible. For finer details, I have a mechanical pencil - Rotring 600 0.5. It has a nice weight to it. And I place foam sleeves on all of my pencils.

I used to cut everything by hand, but now I use a machine to cut paper. It has drastically changed my process, but I’ve always felt comfortable moving between traditional and digital methods. But when I do need to handle paper, these are the tools I use: Martha Stewart scoring tools, bone folder, fancy surgical scissors, X-acto knife, Fiskar knife, and sometimes this fancy blade that I bought in Vancouver although it’s pretty useless when it comes to listening to me. And I also use Martha Stewart’s cutting mat because I like the colour and it folds up when not in use.


When asked this question, I often think of this quote.

“We are both storytellers. Lying on our backs, we look up at the night sky. This is where stories begin, under the aegis of that multitude of stars, which at night filch certitudes and sometimes return them as faith. Those who first invented and then named the constellations were storytellers. Tracing an imaginary line between a cluster of stars gave them an image and an identity. The stars threaded on that line were like events threaded on a narrative. Imagining the constellations did not of course change the stars, nor did it change the black emptiness that surrounds them. What it changed was the way people read the night sky”.

- John Berger, from And Our Faces, My Heart, Brief as Photos

Here is a list of some stars I have collected:

Sacred geometry

DMM Planets teamLab installation at Odaiba, Japan 2016

Shadows cast from trees, plants, and stained glass windows

Ghost images from a litho stone

A Polite Winter James Jean and Keniche Hoshine

Memento mori

A suitcase full of polyhedrons from Musée des Arts et Metiers, Paris

Oude Kerk, Amsterdam

Michael Chabouté’s graphic novel Alone

The tension in Marina Abramovic’s performances

Monet’s Water Lilies at the Musée de l’Orangerie

Drawing on stones

The courtyard of my grandmother’s house and the hanji paper doors

Paper Sculptures by Peter Callesen, Richard Sweeney, and Mia Pearlman

Shaun Tan’s graphic novel The Arrival

The sedimentary remains of a tusche wash in stone lithography

The Paradise of Maitreya from the Yuan dynasty, Royal Ontario Museum

Pieter Saenredam’s Interior of the Church of St. Odulphus at Assendelft

Lani Maestro’s Book Thick of Ocean

Frosted vellum

Childhood memories of reading John Bellairs’ books and seeing the illustrations of Edward Gorey

My parents’ traditional Korean chest for herbal medicine (not used for its original function)

Architectural ruins swallowed up by nature

Toni Morrison’s Sula

The quiet solitude in Vermeer’s paintings

The draping paper botanicals of Tord Boontje


I like to start each collage with a gesture that I’m drawn to. What I look for in a body is the architecture of the gesture, the stillness of a pose and an atmosphere of quiet. In my earlier collages, the process was divided between drawing, painting, and cutting. All of these processes were done without much consultation between each other. Instead it was about gathering ingredients of mass and line in order to experiment with the assembly of each collage. I enjoyed this a lot although it became really messy. I worked on the floor quite often because I would run out of desk space, so my studio became islands of compositions. Nowadays, I am more composed with the pieces and the drawings stay longer on the walls as I think about what to do with them. I would like to introduce a bit of madness of my earlier work or even do a smaller series with the scraps and remnants of other work. But now I find myself composing pieces and trying to be a bit more curated. All of my work lives in shadow boxes to enhance the shadows of the cut paper pieces. I tend to read a lot in order to get inspiration and plant ideas in my brain to see how they germinate. When no one is looking, my sketchbooks can be pretty text-heavy.

Early Process_Origami heads.jpg

For even more information, here are some interviews I did in the past:

“Intricate, Layered Mixed Media Collages by Christine Kim”

- Jantine Zandbergen, Beautiful Bizarre Magazine

“An Interview with Christine Kim”

- JV Calanoc, Paper Artist Collective

”Beauty and Sleaze” - Nadia Sol Caramella, Escrituras.Indie (original text in Spanish. Google translate does an interesting job)

Video Interview in my Studio from the Artist Project 2019