Kim Simonsson

Born in 1974, Finland

1995-2000 University of Arts and Design Helsinki, Master of Arts

2006 Walter Runeberg Foundation Award Stina Krook Foundation Award

2005 Frame-fund, exhibition scholarship Svenska kulturfonden, a 2-year artist grant Arts Council of Finland, travel grant

2004 Young artist of the year 2004, Tampere Art Museum, Finland Artist of the month, Frame-fund, July 2004

2003 Best in Show,Toronto Outdoor Art Show Svenska Kulturfonden

2001 Svenska Kulturfonden Paulo Foundation

1998 University of Arts and Design Helsinki

Kim Simonsson’s work is close to the world of Japanese mangas and cartoons. The artist assumes a certain attraction and fascination for this ultra-contemporary, urban world of Japanese culture, even calling his work “Finnish virtual manga”. There are a number of points in common, but a close examination reveals significant differences, such as the absence of colour, allusions to sexuality and violent attitudes. Also, mangas are not the only point of reference. His work also has a very Western side to it, with a wide range of ancient influences. Kim Simonsson’s work is characterised by a total lack of naturalism and expressive realism. He is more interested in finding formal perfection in his works. In fact, he tackles the highly delicate question of figuration, but in a different way. Although he brings back the formula, he does not return to the classical ideal that has suffered so much at the hands of the 20th century. The idea of a breakaway so dear to modernity is still present, but it takes another form – reminiscent of Mannerism – that fits in with our contemporary aesthetics and culture. Tradition is assimilated – there is no possible way back – and the acquired experience of modernity form an integral part.

We see an extreme sensitivity in his work, pure moments of grace in which poetry is never absent. The attitudes, the volumes made up of simple, full forms, the smooth surfaces with no sharp edges that our eyes glide across... it all combines to create a very personal and, in the end, highly sophisticated art form. In fact, Kim Simonsson gives us the impression of fixing a new type to disturbing elegance and grace. And yet, surprisingly, what attracts him is suffering. This fulfilment and the ideal of gentleness of the beings represented are very apparent and conceal a worrying reality. His works give an impression of remoteness and hesitancy. The attitudes and actions are detached from any idea of expression. The faces remain impassive and inexpressive. They evolve in a world of silence close to a certain form of autism. The lack of formal tumult has its response in the lack of emotional and social tumult.

Yves Peltier