Constructing a pictorial idiom of the life of the royal family, the younger portrait of Queen Elizabeth is proliferated into an outcome of Princess Diana (Lot 393). Camouflaged under the celebrated spotlight of Princess Diana, the young princess Elizabeth appears timid and small. Perhaps to indicate the frail identity perplexity caused by the stern rules and gated walls of the royal palace, Kim empathizes the young souls of the royals in mutual crypsis, in which we can detect the princess Elizabeth within the princess Diana and vice versa. Diana's urge to remain indiscernible and to reject the strong evolutionary pressure to blend in to her environment is sympathized with the artist's furtive social critique on the royal family by skillfully integrating the concept of camouflage physiology of the behavior of animal in defense to its predator. By means of lucratively utilizing the montage technique in conjunction with the mathematically constructed grid to mimic the excessive production by the media and the restricted perimeter that royal obligations has obstructed, Kim surreptitiously blames the media and the royal authorities as the predators who murdered Diana.

In Van Gogh (Lot 394) Kim responds to spatial contexts with schizophrenic mannerism of assorted Van Gogh portraitures (fig.1). The habitual practice has been innovatively experimented to new correlation, nevertheless sustaining his initial core concept. Kim brilliantly maneuvers this modification to intensify the visual agitation with its intricate and varied picture waves to confuse the perception, deliberately making it difficult to assimilate an overall image which in his other oeuvres appears dominantly clear and controlled. With scrutiny, the appreciation for this methodology is esteemed with the realization that this visual angst mirrors Van Gogh's torment and anguish. Moreover, even emulating the paroxysmal eyes of Van Gogh in viewing the world with fervent staccato pixilation.