10 Questions with Yula Kim
Yula Kim lives and works in London, UK. Her practice explores the profound connections between human cultures and the natural world, using birds as symbolic figures to reflect histories, identities, and the evolving relationship between nature and society.
Having lived across multiple continents—including Asia (South Korea, China), Polynesia (Hawai‘i), Africa (Uganda), and Europe (United Kingdom)—Yula draws upon her diverse experiences of ecosystems and societies. These global influences shape her artistic vision, deepening her exploration of the aesthetic and conceptual intersections between nature and human existence.
Her work has been exhibited in prestigious venues, including the Platinum Jubilee Collection at the Royal Borough of Chelsea and Kensington Council (2022), Tate Modern (2023), the Science Museum (2024), and Kingston Museum (2025). In 2023, her painting was selected to commemorate His Majesty’s Coronation and was digitally presented at Windsor Castle during the Coronation Concert. Her artworks are held in the Royal College of Art’s Special Collection Centre and Heasung Art Bay Centre, have been featured in the Science Museum’s CTC Project internal repository, and reside in private collections worldwide. She holds an MA in Contemporary Art Practice from the Royal College of Art and an MA in Museums and Galleries in Education from University College London, both awarded with distinction. Her research on the conservation value of artistic and historical objects in biodiversity studies has been published through UCL IOE’s Crafting Sustainabilities Collective in 2024.
Yula Kim - Portrait
ARTIST STATEMENT
Yula Kim is a contemporary painter whose practice critically engages with the intersections of nature, urbanisation, and cultural memory. Her work, grounded in the philosophy of Vitalism, underscores the interconnectedness of life, space, and nature while questioning how these relationships are fractured and reimagined within increasingly urbanised environments. Through vivid colours, abstracted natural forms, and intricate spatial compositions, Yula’s paintings challenge the viewer to confront the complexities of ecological disruption and cultural adaptation.
Yula’s art reflects a deeply layered inquiry into how human interventions shape—and are shaped by—the natural world. Birds, recurring motifs throughout her work, serve as potent symbols of resilience, migration, and ecological loss. Her focus on extinct species like the ‘ō‘ō and huia offers a commentary on the consequences of human activity while simultaneously invoking metaphors of renewal and coexistence. These birds, drawn from meticulous research on museum objects ranging from taxidermy specimens to crafted artefacts, become vessels for examining how cultural objects are integrated into human emotions, narratives, and collective memory.
Yula’s work also embodies a feminist ethic of care, rejecting exploitative hierarchies that divide nature and culture. By reimagining interactions between humans and non-human entities as acts of empathy and reciprocal engagement, her paintings invite audiences to reconsider their own roles within these fragile ecosystems. Her use of natural pigments and layered techniques serves not only as a formal exploration but also as a conceptual device for interrogating the instability of memory, history, and identity.
In Yula’s compositions, the boundaries between observation and participation are blurred. Her work insists that the viewer moves beyond passive contemplation toward active engagement, questioning how contemporary landscapes can be reimagined through shared, empathetic practices. Ultimately, her art envisions a future where urban spaces and ecosystems exist in dynamic harmony, offering pathways toward healing, coexistence, and cultural renewal.
Bio-Synthetic Symphony, Oil and Natural Pigment on canvas, 140 x 120 cm, 2025 © Yula Kim
INTERVIEW
First of all, what sparked your interest in art, and how did you discover your passion for painting?
I come from a family that has lived across four continents and five countries, shaping my worldview and inspiring my artistic journey. Among these experiences, my time in Hawai'i had a profound impact. The lush landscapes and vibrant Polynesian aesthetics captivated me, especially the rich colours, forms, and aura of tropical creatures—life, unlike anything I had encountered before.
My interest in art took root in 2017 during a gap year in Hawai'i. Initially drawn to the ocean's beauty, my perspective shifted after stumbling upon an exhibition at the Marriott Hotel on Hawaiian culture. A Hawaiian feather cloak crafted from vivid yellow and red bird feathers held a sacred aura yet evoked a deep sense of loss. This moment ignited my fascination with the intersection of nature, culture, and art—a theme central to my practice today. Then, during my master's degree in art in London, I refined my artistic language, symbols, and style, integrating my personal vision into a broader societal context. My research on taxidermy collections—particularly extinct Hawaiian and New Zealand birds—led me to explore themes of climate change, human impact, and preservation. Additionally, working on an educational visual project with the Zoological Society of London reinforced my belief that art bridges disciplines, connecting science, history, and philosophy.
Painting, for me, is a way to capture moments and ideas, translating philosophy into a visual language. Through vibrant colours, expressive forms, and layered compositions, I create a space where nature, humanity, and memory intertwine. My work reflects a dialogue between past and present, science and emotion, presence and absence. Ultimately, art allows me to engage with society, offering new perspectives on our evolving relationship with the natural world.
Nocturne in The Blue Land, Oil and Natural Pigment on canvas, 100 x 80 cm, 2025 © Yula Kim
How has living across multiple continents influenced your artistic perspective?
I believe an individual's experiences and environment profoundly shape their thoughts and creative vision. In my case,having lived in Asia, Africa, Polynesia, and Europe—and now in London—these diverse cultural landscapes have greatly influenced my artistic perspective. Experiencing such different ways of life has allowed me to compare, contrast, and integrate the roles that both human culture and nature play in society. From aesthetics to symbolism, from possession to occupation, these elements manifest differently across the world, and I find inspiration in these contrasts.
Simultaneously, I have found that despite cultural and geographical differences, humans are ultimately part of nature. Nature influences artistic expression in many ways—whether through the symbolic use of birds in spiritual contexts or through the universal presence of natural elements in both visual and literary languages. This interconnectedness fascinates me, as it reveals a deeper, shared human experience that transcends borders. Living in multiple places also raises questions about identity and belonging. At times, I've felt the ambiguity of not being tied to a single cultural identity, which I personally find it I am merely an individual rather than belonging to certain cultures or ethics. However, this detachment has also given me the freedom to move beyond the confines of a fixed background. It has instilled a sense of openness and tolerance, allowing my artwork to develop a more universal visual language—one that resonates with a diverse audience.
For example, growing up in international schools, I was constantly surrounded by individuals from hybrid or multicultural backgrounds. This exposure shaped my worldview; I rarely met people from my own cultural heritage but instead encountered a rich tapestry of perspectives. My parents also encouraged this global approach to life, believing that experiencing different cultures would expand my creative aspirations.
As a result, my work has evolved with a globalised and multifaceted aesthetic, enriched by a critical gaze. By incorporating elements from various cultures, I have developed a unique artistic philosophy that transcends boundaries.Ultimately, my art is not just a reflection of my personal experiences but a means of bridging diverse perspectives—inviting viewers, regardless of their background, to engage in a shared visual dialogue that encourages new ways of seeing and understanding the world
Your work explores the relationship between nature and society. How do you see this relationship changing in today's world?
I believe that biodiversity preservation and sustainability are increasingly vital concerns for humanity. Many of the fundamental structures of human culture—whether artistic, philosophical, or scientific—have historically been rooted in our relationship with the natural world. At the same time, our moral values are often shaped by how we perceive and interact with both one another and the environment around us.
Inspired by Walter Benjamin's aura theory and Kant's Critique of Judgement, my work explores how our perception of nature has evolved over time. Natural creatures and environments possess a unique aura, shaped by their specific locations, histories, and ecological contexts. At the same time, they reflect the diverse ways in which humans have interacted with and adapted to nature throughout history.
In earlier centuries, nature was often seen as something to be studied, collected, and even dominated—manifesting in practices such as cabinets of curiosity and the colonial gathering of specimens for research. Today, however, our relationship with nature is more complex. While some perspectives continue to treat it as a resource to be controlled, others recognise its intrinsic value and advocate for deeper ecological consciousness.
I find this evolving dynamic particularly compelling. On one hand, there is a growing awareness of the need to preserve and restore natural spaces—not only for ecological reasons but also for their impact on our emotional and intellectual well-being. The presence of nature within urban environments, for example, is increasingly recognised as essential for both sustainability and human flourishing. On the other hand, certain aspects of environmental discourse can become polarised, making it difficult to navigate nuanced discussions about our coexistence with the natural world. Rather than presenting absolute answers, my work seeks to create a space for reflection—encouraging viewers to reconsider their ownrelationship with nature, its presence in their daily lives, and the broader cultural and historical narratives that shape this connection.
The Mirage Keeper, Oil and Natural Pigment on canvas, 100 x 80 cm, 2025 © Yula Kim
The Sentinel's Moment; A Secretary Bird, 2025 © Yula Kim
How do you incorporate the concept of Vitalism into your artistic practice?
Vitalism is a central theme in my work, expressed through the dynamic interplay of colour, texture, and form. I explore vitality not only as an inherent energy within nature but also as an emotional and sensory experience that resonates within human perception. The vibrancy of my compositions—ranging from luminous, light-filled hues that evoke movement and liveliness to deeper blues that introduce a sense of introspection—creates a visual rhythm that embodies life's flux.
My recurring motifs, such as birds, flowers, windows, and stones, serve as symbolic elements that bridge the natural world and urban existence. These forms act as reminders of the vitality present in both organic and built environments, highlighting the interconnectedness of life in contemporary society. By incorporating these subjects, I invite viewers to reconsider how we experience and sustain moments of joy, contemplation, and renewal in an increasingly fast-paced, overstimulated world.
This theme is particularly relevant in today's contemporary art scene, where many artists are re-evaluating the relationship between nature, well-being, and the built environment. My work aligns with this dialogue by exploring how we navigate modern urban life—often defined by noise, overstimulation, and societal pressure—while simultaneously searching for spaces of refuge, stillness, and reconnection with nature. I see my paintings as a response to this duality, embedding the aspirations and emotional landscapes we seek within the textures of my brushstrokes and the depth of my colour choices.
In this way, my practice resonates with contemporary artistic movements that emphasise phenomenology, ecological consciousness, and sensory perception. Like artists who use abstraction and materiality to evoke emotional landscapes—such as those exploring colour theory, immersive environments, or the meditative qualities of painting—I aim to create spaces where viewers can reflect on their own sense of vitality. Through this interplay of form, imagination, and sensation, my work becomes both a personal and collective exploration of what it means to feel alive.
How do you incorporate the concept of Vitalism into your artistic practice?
In my artwork, I explore the concept of Vitalism by examining the interconnectedness of mind, body, and nature, and how these elements interact in the creative process. To convey the essence of Vitalism, I use colour, lines, and objects, both realistic and abstract, to represent my integration of these themes. These objects, drawn from my research at the American and British Museum collections, include the taxidermy of extinct birds like the oo bird and huia, as well as live specimens from the London Zoo that I studied during my Master's degree at UCL. These historical objects encapsulate the feeling of preserving a once-living creature, and they allowed me to explore why humans have sought to capture nature, and how this act speaks to the certainty of life and presence—core aspects of Vitalism.
My work delves into themes of growth, decay, and the cyclical nature of life. I incorporate symbolic objects that reflect both personal experiences and broader socio-ecological concerns. For example, the image of an extinct bird symbolises loss and transformation, while flowers represent my personal exploration of ideas related to belonging, movement, and the essence of life. These symbols reflect a deeper connection between humans and nature, particularly in the context of contemporary societal challenges.
I mainly use different birds for this, which will be explained in the next section. Another prominent example of this is the use of blue circular flowers in my paintings. These flowers, based on real-life flora, are created using colour pigments and oil. They symbolise the act of creation, human labour, and the integration of seeing and experiencing nature. Ultimately, they serve as a reflection of my thoughts and emotions, expressed through the medium of art. This interplay between nature, symbolism, and personal experience allows me to narrate the vital force that connects all living things.
The blue flower is more than just a visual element—it serves as a symbol of creation and transformation. The colour blue, often associated with calmness, spirituality, and depth, adds emotional resonance to the flower, inviting viewers to contemplate not only its beauty but also the hidden forces behind its existence. The flower represents the delicate balance between nature and human influence, with the pigments and oils used to create it embodying the labour of human touch in bringing the natural world to life on the canvas. Dark blues, such as indigo and cobalt, are some of my favourite colours because they evoke an aura of elegance, depth, and a surreal quality that cannot be captured by other hues. These colours further amplify the concept of Vitalism in my work, as they create an emotional space where the viewer can experience both the beauty and the underlying mystery of life.
Like birds in my artwork, the flower itself becomes a metaphor for growth and renewal, emerging from the interaction between nature and the artist's mind. It symbolises life's persistence, much like how a flower blooms despite the passage of time or environmental challenges. In this sense, the blue flower embodies resilience—both of the natural world and the human spirit, navigating through a complex and changing society.
Through these elements, I aim to describe my artistic language as an integration of humanity and nature. My goal is to highlight the presence of nature in our world, showing how it is not just a passive backdrop but an active source of inspiration for new ideas, life, and cultural expression, as well as a fundamental influence in science and other disciplines.
The One A Vast Blue Bloom and the Birds Never Seen, Oil and Natural Pigment on canvas, 120 x 80 cm, 2025 © Yula Kim
Why do birds play such a central role in your work, and what do they symbolise for you?
Birds occupy a central place in my work, serving as multifaceted symbols that bridge the personal, the philosophical, and the socio-historical. They often reflect my own sense of place—both physically and socially—within the environments I navigate. At the same time, they invite a shift in perspective, encouraging deeper engagement with nature and the unseen forces that shape our world.
In recent years, I have conducted research on avian collections in museums across the UK and the USA, examining taxidermy specimens of endangered and now-extinct species. This exploration revealed the deep historical ties between birds and humanity, underscoring how they have long been embedded in cultural, scientific, and artistic narratives.
Historically, birds have played a profound role in human culture, from mythology and artistic symbolism to scientific exploration and object preservation. They embody both the beauty and vulnerability of the natural world, serving as reminders of the delicate balance between human intervention and ecological change. In my work, birds act as vessels of contemplation—representing resilience, fragility, and the evolving dialogue between nature and civilisation.
Beyond their cultural significance, birds also resonate with me on a more intuitive level. Their distinct forms, colours, and behaviours create a visual language of individuality and adaptation, mirroring how identity and belonging are negotiatedin contemporary society. Their presence in my practice becomes a means of exploring themes of displacement, transformation, and the tensions between preservation and loss.
Ultimately, birds in my work do more than depict nature—they evoke a sense of presence, an "aura" that enriches both the visual and conceptual depth of each piece. They invite viewers to engage emotionally and intellectually, prompting reflection on our evolving relationship with the natural world and the symbolic weight it carries within human culture.
How do you balance abstraction and representation when portraying nature and urbanisation?
I don't merely approach the balance between abstraction and representation in a fixed ratio when portraying the relationship between nature and urbanisation. Instead, I use a combination of mixed and natural pigments, along with abstract forms that reference both artificial and organic landscapes. My colour choices and compositions reflect moments I observe in contemporary cities like London and New York—places where traces of nature persist but are often overshadowed by towering buildings and dense infrastructure.
To capture this dynamic, I incorporate square and geometric shapes, symbolising the structured, planned nature of urban spaces. These elements contrast with organic forms, highlighting the tension between human-made environments and the natural world.
I deeply appreciate life in the city—the vibrant cultural diversity, the illuminated skyline, and the sense of confidence and energy it fosters. Yet, I also cherish moments of stillness in nature, whether in parks or the countryside, where I feel a deeper connection to the earth. This contrast informs my perspective: I believe it is essential to integrate nature into urban life, not merely as decoration but as a meaningful and welcoming presence. Despite the existence of green spaces, urbanisation remains primarily driven by human priorities. We continuously shape and expand our environments for our own benefit, often at the expense of the natural world. My work reflects this duality—the way cities attempt to accommodate nature while simultaneously asserting control over it. Through my use of materials and composition, I explore how urban landscapes embody both coexistence and dominance, inviting viewers to reconsider their relationship with the spaces they inhabit.
Hence, I incorporate abstract yet subtly figurative forms to convey the complex emotional and material aura of urban and natural spaces. Through this approach, I explore the delicate balance between nature and urbanisation—how we attempt to integrate natural elements into our surroundings while simultaneously expanding and reshaping the environment for human benefit. This tension between occupation and preservation, between the desire to claim new spaces and the need to maintain green spaces within our cities, remains central to my artistic exploration.
Coronation Concert, London, 2023 © Yula Kim
Heasung Art Bay Solo show © Yula Kim
What kind of emotional or intellectual response do you hope viewers have when engaging with your work?
Nature plays a profound role in shaping human emotions and intellectual reflections. From the shifting weather to the living creatures that surround us, nature has the ability to evoke a deep sense of appreciation, curiosity, and even innovation in thought. A beautiful natural scene can stir feelings of wonder and admiration, yet it also serves as a mirror for our moral considerations—how we perceive, treat, and coexist with the environment and its inhabitants.
In my work, I explore this intersection between aesthetics and morality, questioning not only how we visually engage with nature but also how our ethical responsibilities manifest through that engagement. This aligns with Kant's Critique of Judgment, where he suggests that aesthetic experiences are not purely about beauty but also about the way we judge and make sense of the world. My use of natural imagery, such as birds, serves as both a reflection of human sentiment—symbolising freedom, fragility, and the passage of time—and as a critical commentary on biodiversity, sustainability, and the consequences of human intervention.
Birds, for instance, are deeply tied to both historical and cultural narratives—whether as symbols of power and wealth in taxidermy collections or as fragile beings whose survival is increasingly threatened by environmental change. Their existence is an indicator of the ecological balance we either preserve or disrupt. By incorporating such elements into my artwork, I aim to provoke both an emotional response—a sense of awe, loss, or nostalgia—and an intellectual discourse on the ethical implications of our relationship with the natural world.
Ultimately, my work invites viewers to navigate the space between beauty and responsibility, encouraging a dialogue about how aesthetic experiences shape our understanding of life, coexistence, and the moral considerations that arise from them. Depending on the viewer's background, knowledge, and perspective, the work may inspire new ideas, evoke personal memories, or challenge existing perceptions of nature and its role in human culture.
What has been the most meaningful or transformative moment in your career so far?
Over the past few years, my work has been exhibited in significant cultural and historical contexts, marking key milestones in my artistic journey. Since 2022, my artworks have been showcased at prestigious events and venues, including the Platinum Jubilee Collection at the Royal Borough of Kensington and Chelsea's Civic Gallery, the Coronation Concert of King Charles III in 2023, and a collaborative project with Tate Modern Late. I also launched a solo exhibition in South Korea, sponsored by BNK Bank, and participated in research-based creative projects, such as the Science Museum's CTC Project, where I created a video artwork exploring the intellectual and artistic connections within horology, inspired by their exhibition.
Among these experiences, the Coronation Concert 2023 was particularly meaningful to me. It was the moment I fully embraced my identity as an artist and recognised the broader impact of art on society. Growing up, I often encountered scepticism about the value of art, especially from peers who viewed it as insignificant compared to other academic disciplines. Some even dismissed it as lacking purpose or professional legitimacy. However, being selected to contribute to such a historical event not only reinforced my belief in the importance of art within contemporary society as well ashistories but also challenged these misconceptions.
Through this experience, I came to see art as more than just a medium of self-expression—it is a powerful tool for cultural integration, collective memory, and societal influence. Art has the ability to shape public events, create immersive experiences, and leave lasting impressions on audiences. The Coronation Concert was a testament to the role of artists in shaping history and engaging with wider audiences beyond the art world. It solidified my commitment to using my creative practice as a means of connection, transformation, and meaningful contribution to society.
Looking ahead, what's next for you? Are there any upcoming projects or themes you're excited to explore?
My next artistic exploration delves into shifting perspectives, introducing unseen birds into human-made spaces. This series does not simply depict birds but reimagines them as active participants in urban life, occupying spaces typically reserved for humans. Through this inversion, I explore a counter-narrative—one that envisions how birds might navigate artificial structures, intellectual constructs, and emotional landscapes if they were to take on human roles. This imagined reality challenges the conventional boundaries between nature and civilisation, offering a dreamlike yet thought-provoking reflection on adaptation, displacement, and coexistence.
Alongside this conceptual shift, I am expanding the scale of my work, magnifying forms and intensifying colours to reveal new dimensions of perception. By reinterpreting rare and often unnoticed bird species through abstracted hues and reconfigured shapes, I aim to capture a beauty that transcends the visible—one that speaks to memory, imagination, and a fluid sense of identity. The interplay between organic movement and geometric precision in my compositions evokes a sense of both harmony and tension, echoing the ever-evolving relationship between the natural world and human intervention.
In a world where rapid urbanisation and environmental change redefine ecosystems, this series offers a poetic meditation on survival, transformation, and the dream of balance. Through these works, I invite viewers into an alternative reality—one where nature is not a passive backdrop but an active force, reclaiming space and asserting its presence in ways both mysterious and profound.
I am currently open to new artistic opportunities, including exhibitions, collaborations, and publications. I look forward to engaging with curators, institutions, and fellow artists to further develop and share these ideas on a broader platform.
Phantom Reverie, Oil and Natural Pigment on canvas, 60 x 80 cm, 2025 © Yula Kim
And lastly, where do you see yourself in five years from now, both geographically and career-wise?
In five years, I envision establishing a strong base in London, a city I have lived in for some time and found to be an endlessly inspiring hub where nature, urban life, and diverse cultural influences intersect. London's dynamic artistic landscape constantly offers new perspectives, making it an ideal place for my creative growth. At the same time, I hope to expand my presence in other major global art hubs, such as New York City and Paris, both of which provide rich cultural histories and dynamic contemporary art scenes. Engaging with these environments will allow me to build meaningful collaborations, gain broader exposure, and contribute to international artistic discourse.
Career-wise, I aspire to continue developing my artistic practice while establishing partnerships with institutions that align with my vision. I hope to work closely with galleries and museums as both an exhibiting artist and a creative collaborator, fostering dialogues that bridge artistic, academic, and curatorial perspectives. Through these engagements, I seek to expand the reach of my work and contribute to broader conversations within contemporary art.
Artist’s Talk
Al-Tiba9 Interviews is a promotional platform for artists to articulate their vision and engage them with our diverse readership through a published art dialogue. The artists are interviewed by Mohamed Benhadj, the founder & curator of Al-Tiba9, to highlight their artistic careers and introduce them to the international contemporary art scene across our vast network of museums, galleries, art professionals, art dealers, collectors, and art lovers across the globe.
