Luke Park creates a new beauty through the aesthetics of imperfection and minimal expression on an empty canvas. The artist, who majored in Business at Hongik University and received a master's degree in Arts and Cultural Management from the graduate institution, is claimed to have been interested in traditional Japanese culture for a long time. In particular, the Japanese dry garden culture, known as Zen Garden, influenced his current style of painting. Instead of incorporating incidental components in his works, he attempts to convey the meaning solely through the flow of brushstrokes. Exploring the true nature of life, the artist reveals via his works the necessary approach to life in our materialistic society. 

아르투(Artue)는 동시대 예술 현장의 역동성을 자양분으로 삼은 역량 있는 예술가들의 작품을 엄선하여 생동감 넘치는 미술의 본질을 세계에 알리는 데 헌신하고 있습니다. 예술가들을 위한 플랫폼 구축은 갤러리, 컬렉터 및 미술 애호가들을 연결해 지리적, 물리적 경계를 넘어선 총체적 경험을 제공하려는 아투의 핵심 미션과 연결됩니다. 아투를 통해 매력적인 미술의 세계를 발견하고 그 어디에서도 만날 수 없는 기회를 경험해 보시기 바랍니다. 

Artue is dedicated to bringing the vibrant essence of art to the world stage, presenting a curated selection of works by talented artists who embody dynamic contemporary scenes. By creating a platform for these artists, we foster connections among galleries, collectors, and art enthusiasts, offering an immersive experience that transcends geographical boundaries. Discover the captivating world of contemporary art through Artue and unlock unparalleled opportunities for growth, exposure, and success. Join us in celebrating the diverse and remarkable contributions of artists to the global art community.

Artue - Korea

Equilibrium

The landscapes of Kwon So-young (b. 1986) carry traces of time and the lingering resonance of memory. She explores the subtle sensibilities that arise between one presence and another, and the quiet tremors that exist beyond visible form. Within the interactions of ink, water, and hanji, intention meets chance to create layered depth, capturing the breath of what remains even within what has disappeared. Her landscapes portray nature as both a site of memory and a record of emotion, where stillness is not a frozen moment but the movement of time that flows and leaves its mark.

"Objecthood" is a concept that emerged from minimalism, often translated as "objecthood" or "materiality." It aims to strip objects of unnecessary elements, focusing on the essence of the object and the inherent properties of the material, to present works that are non-imitative and non-representational.

Based in Busan, Objecthood Gallery seeks to introduce the artistic worlds of emerging domestic and international artists who understand and interpret this pure concept of objecthood. The gallery also serves as a new platform to offer moments of relaxation and leisure in our modern lives.


OBJECTHOOD

Entangled  Flow

RCB Experimental Art Lab, an innovative project by River City Bangkok, is more than just a gallery—it’s a dynamic space where artistic boundaries are pushed, and new horizons are explored. We encourage a variety of artists, both new and experienced, to "Explore" unexplored creativity, "Experiment" with ideas and stories from various art media, and "Exchange" conversations between Thai and international artists to spark new creativity. We also intend to provide a platform where artists, viewers, and collectors may share ideas and support. The talented artists ; Art Jeeno, Chonnapas Yokyai, FAHFAHS, Munins, Phichai Keawvichit, Tuagomstudio, Tum Ulit, and WAL, have all shown their work with us.

RCB Experimental Art Lab

Path 2

SoYeong Kim has been constructing illusionary images through an expressive painterly style that maximizes the effects of light. In her work, darkness deepens in response to illumination, while the gaze emerges with heightened clarity. The areas of light, rendered as empty spaces within the composition, possess a translucent, screen-like texture—prompting viewers to reconsider the very nature of the image.
By sensitively capturing the boundary between the image projected onto fragmented elements and the image generated by light itself, Kim seeks to illuminate the essence of visual experience and the moment an image comes into being.

CDA is a gallery stands for ‘Creative’, ‘Discovery’, and ‘Appreciation’. The gallery mainly presents creative activities in various fields of contemporary visual arts in the form of exhibitions. CDA exhibition mainly focuses on paintings but subjects to all kinds of genres and mediums such as sculpture, prints, photography, animation, and video. The form of the exhibitions is also balanced, with a mix of solo and group exhibitions, as well as art fairs and collaborative projects. We sincerely hope that our activities will serve as a spark for the realization of meaningful projects for creators(artists) and an opportunity for audiences to expand their inspiration and collecting.

Flesh 1

As I pile up my work and mash it into canvas, I feel transported to a chance encounter—a fateful moment suspended within the canvas. I approach art not as a methodical process, but as a series of intuitive accidents. Each mark becomes a trace of something unplanned, yet somehow inevitable.

With the Flower

"Contemporary art and a lion" is one of the representative works of the series 'The Form of Hat', which sought to create a new painting by directly clashing the disparities between drawing and the painting that the artist, a cartoonist, felt. The hat in the art indicates rank, power, and usefulness, but by connecting it to the meaning of painting, it portrays the look of being uselessly hung indoors. The artist uses numerous techniques, such as painting and animation, to express images that are subjectively interpreted differently by each viewer. In this way, the artist continually experiments with the interpretation method of modern painting in art history and constructs his own new art worldview.

Contemporary art and a lion

Staying at the Oharano Studio residency in Kyoto, Japan, the artist presents works that condense the sensations of observing nature at specific moments into the form of a “portrait.”
A “portrait” is not merely a depiction of outward appearance, but an act of capturing the expression and emotion a being reveals at a particular point in time. Jang Geon-yul’s new works expand this traditional notion of portraiture to natural elements—clouds, flowers, and trees—gazing upon and recording their fleeting presence as if tracing a human life. In doing so, the artist renders the cycles of disappearance and emergence in nature as portraits of vanishing existence.


Since its establishment, Gallery Kabinett has aimed to play a pivotal role in managing and establishing promising artists, both domestically and internationally. Through strategic institutional introductions and comprehensive artist development programs, we seek to explore the various possibilities of visual arts by close collaboration with other industries.

We strive to enhance the competitiveness of Korean art and align it with global standards, all while showcasing Korean artistic elements to ultimately exert significant global influence.

Gallery Kabinett

Portrait of Mountains and Clouds7

Hye Yeong Kim (b.1995) is an emerging artist based in Korea, whose work explores themes of solitude, isolation, and stillness. Trained in traditional Korean painting, Kim combines Korean pigments with contemporary media, including acrylics, oils, and oil-colored pencils on linen and canvas, to produce highly detailed and realistic works. Her paintings often depict vacant homes, solitary figures, and expansive landscapes, creating tranquil spaces that invite quiet reflection and contemplation. 

Central to Kim's practice is the belief that solitude is a crucial condition for personal growth and self-discovery. Drawing inspiration from Paulo Coelho’s notion of solitude as a transformative force, Kim’s work offers viewers a respite from the distractions of modern life. Through her serene, immersive landscapes—often featuring the sea—she creates spaces where viewers can engage deeply with the artwork and reflect on their own experiences. With her unique fusion of traditional techniques and modern sensibilities, Kim is quickly establishing herself as a distinctive voice in the Korean contemporary art scene.

In Search of a Summer We Never Knew

Gallery THEO is founded in Seoul, South Korea in 2020. The priority mission of THEO is to establish a sustainable art cycle rooted in diversity. THEO was established by two directors who have built their careers in the art markets of the UK and the US, bringing their international expertise and networks to the Korean art scene.
The primary objective of Gallery THEO is to showcase the wide-ranging spectrum of Korean art and its richness. The gallery is dedicated to supporting young and gifted Korean artists, regardless of artistic genres, and identifying the commercial potential in their work. By providing a platform for these artists, the gallery aims to foster their growth and development within the rapidly evolving art ecosystem.
In addition to promoting local artists, Gallery THEO actively seeks to encourage diversity and bridge cultural boundaries. The gallery accomplishes this by establishing strong relationships with relevant institutions and collaborations with galleries both locally and internationally. By engaged in collaborations with artists and directors from various backgrounds, Gallery THEO strives to introduce international artists to Korean and Asian audiences, thereby promoting cross-cultural exchange and expanding the artistic discourse. 
Through challenging projects and a commitment to artists excellence, Gallery THEO envisions a gallery space that can co-exist and thrive alongside art creators, adapting to the dynamic art landscape.

THEO

Two Birds

“Crying Bird” is a figurative painting. The emotions of the surviving bird, which laments the loss of the departed mate, and the viewpoint of the world watching it coexist in work. The artist creates a narrative of conflicting feelings within the canvas using a contemporary interpretation of Oriental painting, including flowers blooming and falling, a cat playing, a dead bird, and a bird weeping. The artist's belief that everyday life is nonsense is revealed by the contrast between the unassumingly beautiful landscape and painful emotions.

Crying bird

This limited edition by Philippe Parreno is a unique object consisting of a custom-made plexiglass box, a special, clothbound edition of the Revue and its accompanying booklet and a double-sided print of Parreno’s Iceman (2020), 2023, in two stages.

Founded in 1926 by Christian Zervos at 14, rue du Dragon in the heart of Saint-Germain-des-Prés, Cahiers d’Art encompasses a publishing house, a gallery, and a revue. The Cahiers d’Art Revue was entirely unique when it was introduced, and it still is: a revue of contemporary art defined by its combination of striking typography and layout, abundant photography, and juxtaposition of ancient and modern art.
Between the 1920s and the mid-1970s, Cahiers d’Art published ninety-seven issues of the Revue and more than fifty books on fine art and architecture, as well as the thirty-three volume catalogue raisonné of Pablo Picasso. After its acquisition and relaunch in 2012 by Staffan Ahrenberg, an editorial board comprised of Sam Keller, Hans Ulrich Obrist, Isabela Mora, and Staffan Ahrenberg was created. Cahiers d’Art has since published several new Revues and art books devoted to Ellsworth Kelly, Rosemarie Trockel, Hiroshi Sugimoto, Alexander Calder, Pablo Picasso, Thomas Schütte, Gabriel Orozco, Joan Miró, Lucas Arruda, Ai Weiwei, Arthur Jafa, Frank Gehry, Christo, and others. From the 1920s till today, Cahiers d’Art has maintained a gallery, exhibiting the artists it publishes.
Cahiers d’Art continues to fulfill its mission to be the cultural bridge between the avant-garde of Picasso, Duchamp, and Le Corbusier, and the leading artists and architects of our time.

Cahiers d'Art

Philippe Parreno, Limited edition including original artwork

Passionate about prints, Lee Ufan had, for many years, the desire to succeed in creating an extremely long etching. He wanted to push horizontality to its limits. It was at Michael Woolworth’s studio that he was able to realize this dream. Confronting himself, with all his physical strength, to the hardness of the steel plates and the vastness of their length, he created two different works as two ways to explore an infinite trajectory. Together an artistic, physical and technical feat, these impressive etchings are the result of a very intense cooperation between the artist and the entire workshop team.

Untitled (II)

Zelalem Merga, an Addis Ababa–based artist, transforms discarded materials into evocative portraits that explore the complexities of contemporary life. His practice reimagines the value of everyday objects, urging us to reflect on consumption, renewal, and the resilience of human creativity. Through this dialogue between nature and society, Zelalem’s work captures both the unease and the beauty of our times.

Swimming colors Il

Sleeping nude at the beach

Space776 exhibits early to mid-career artists who work in a variety of mediums ranging from live multimedia performance art to traditional oil painting. The gallery accommodates artists from around the globe, taking their works to local and international art fairs such as Volta New York, Volta Basel, Art Miami, Palm Beach Modern + Contemporary, and Art Busan. 
Space776 was founded in Bushwick, Brooklyn in 2013. In 2020, the gallery relocated to its current residence at 37-39 Clinton Street on the Lower East Side of Manhattan. Space776 also opened a location in Seoul, South Korea in 2020 in accordance with the gallery’s mission to promote the international exchange between local New York artists and the Korean artistic sphere. 

Space776

Pure

My work begins from the gaze of a solitary figure wandering through the city.
It originated with sketches of buildings I encountered in New York, a foreign city I traveled to alone after quitting my job in order to become an artist.

People built cities and raised buildings out of necessity, yet it is always the buildings—standing in the same place—that watch over the city as people surge in like a tide and withdraw like an ebb. There are magnificent buildings of great historical or artistic significance, but most are unremarkable structures where people simply carry out their daily lives. These buildings are the face of the city, telling me different stories each day.

We spend most of our everyday lives in the city—more precisely, between buildings. Urban architecture is constructed to be solid, and indeed must be so. To me, this resembles the daily lives of people who conceal complex inner worlds while moving through each day with seemingly untroubled faces.

The buildings in my paintings—interwoven with lines that are firm yet gentle, linear yet organic—carry the emotions of those who live within the city.

Colorbeat presents curated exhibitions centered on the works of contemporary artists, serving as an experimental exhibition space where current sensibilities and social contexts are articulated through art. Rather than being confined to specific media, the gallery organically highlights a wide range of practices—including painting, sculpture, installation, and video—while offering in-depth insight into the attitudes and critical perspectives of artists living and working in our time. In particular, Colorbeat actively discovers and supports emerging artists who work freely across media, providing ongoing exhibition opportunities and fostering critical discourse to encourage their long-term growth. By focusing not only on completed works but also on artistic processes and trajectories of thought, the gallery enables visitors to engage with art in a more layered and immersive way. Beyond mere appreciation, each exhibition functions as an open platform for collectively exploring the possibilities of contemporary art.

Gallery COLORBEAT

Hello,Is Everyone Doing Well

“I examine the existent uncertainty belying this world and aim to affirm this palpable instability of human nature and existence. My paintings express such sentiments through metaphors of the city, sky, universe, or even as a courtship of dancing peacock spiders. In other instances, they are drawn as straight lines and curves. Today‘s drawing become materials for the next—paving a path to follow. The moment I sense it, it exists as a backdrop, a guide. In the end, it is the measuring of the immeasurable, the longing for the unrevealable that remains true even if only for a moment. It is through this process that I present abstraction and attempt to expand the senses.” - Hyunmo Yang


Launched in 2022, ROY GALLERY currently operates four total exhibitions spaces located in the Apgujeong and Cheongdam neighborhoods of Seoul. Soon to open a new project space across from Dosan Park, the gallery seeks to solidify its position in the art world with an expansionistic and progressive mindset.  
ROY GALLERY actively engages with domestic and international artists through extensive research and exchange and embraces experimental genres through curatorial emphasis on creative exhibitions for collectors. As a new gallery, we develop programs that respectfully examine the core intrinsic values of artists and their works. By underscoring distinct and diverse projects, the gallery explores ways to appreciate art and creativity from its own unique perspective.

ROY GALLERY

Flexible Forms 10.13

Buwon develops paintings and art toys rooted in his long-standing interest in toys and street culture, centering on a rabbit character modeled after himself. Behind its charming appearance, the character embodies emotions from growth and uncertainty to humor and cynicism, reflecting the artist’s personal narratives. Moving fluidly between digital and analog, 2D and 3D, he continues to expand his distinctive artistic universe through global brand collaborations and international exhibitions.

Gallery STAN is a contemporary art gallery based in Seoul, dedicated to presenting bold and thought-provoking works by emerging and established artists from Korea and beyond. Founded with a vision to serve as a dynamic platform for experimental narratives and cultural dialogues, the gallery is committed to fostering artistic practices that engage with the complexities of our time.

Through solo and group exhibitions, public programs, and interdisciplinary collaborations, Gallery STAN seeks to blur the boundaries between visual art, performance, design, and new media. The gallery places a strong emphasis on curatorial experimentation and social relevance, offering both local and international audiences a space to encounter new ideas and perspectives.

As an active player in the global art ecosystem, Gallery STAN also participates in major art fairs and collaborates with institutions, collectors, and curators to support the long-term growth of its artists. At the heart of its mission lies a belief in art’s ability to question, connect, and transform.

Gallery STAN

ROUND 9

Equilibrium Blue

POSE began painting graffiti in 1992 and in years since has expanded his vigorous career to include murals, commercial collaborations and exhibitions around the globe. He earned his BFA from the Kansas City Art Institute in 2004, and then turned his own graffiti education into a body of work blending a wealth of pop culture’s ready-made visual languages. Street signage, comics, newspapers and advertisements are reimagined through dissection, digitization and reconstitution, collectively immortalizing post-industrial moments for the digital age. POSE was named “One to Watch” by CNN in 2015, and has exhibited in the Museum of Contemporary Art Los Angeles, Museum of Contemporary Art Denver, Powerlong Museum Shanghai, Museum of Contemporary Art Chengdu, and Chosun Ilbo Museum of Art, Seoul, among others. His work is enjoyed in numerous private collections worldwide.


SoYeong Kim reflects on urban life through photos taken in daily life, capturing fleeting moments that evoke a sense of both illusion and emptiness. Her work is characterized by creating illusionary scenes by adding painterly ambiguity to real landscapes. She paints by repeatedly layering vertical strokes of acrylic paint on traditional Korean paper (Jangji). The unique textures created from the combination of Jangji and acrylic form the depth and richness of her works. The warm texture of Jangji contrasts with the cold, artificial texture of acrylic, and through the brushstrokes, these elements merge to create a dualistic atmosphere in her compositions.

I work primarily with oil paint, applying it with intention but disrupting it before it sets. While the paint is still wet, I smear it with a towel—blurring, lifting, softening. In these gestures, I relinquish control and make space for chance. Sometimes the towel removes an image I thought I needed. Other times, it leaves behind a trace more evocative than anything I could have deliberately created. The smearing becomes a collaboration between my hand, the material, and the moment.

Yunseob Kim has experimented with a new methodology for creating flat images using diverse mediums, including drawing, painting, and animation. Since he majored in animation at Kongju University and maintained an interest in cartoons, he is allowed to create paintings that deviate from traditional genres like drawing and sculptures. In 2007, he began utilizing self-portraits, hand drawings, and cup drawings in his paintings and videos. He also worked in drawing, text, installation, and video in 2011. In addition, since 2014, the artist has delivered private narratives to the audience in a variety of techniques and subjects, including the “Hell” series, which focuses on digital physical properties experiments and the investigation of moving images. The artist is constructing his own universe by discussing the definition of time, events, visions, beings, and devildom as well as posing problems regarding the identity of modern painting in art history.

My work begins by extracting formative elements that can be found in natural objects. 
It is to collect the formative beauty and aesthetical beauty of nature and reconstruct the canvas based on it. The images displayed on the screen are mainly expressed in the form of flowers or plants. For this case, the object shown in the form of a natural object is only an element used for color and formative harmony. Several flowers from a single stem are sometimes embodied as having different colors and shapes and some float the canvas without a starting point. Also, shapes unrelated to natural objects are placed in various places on the canvas and it is because the shapes on the canvas do not follow the biological structure of nature and it means that the images have their own form, not the result of imitation. Each formative element is recognized as a single piece in composing the canvas. A series of processes to approach the formative beauty by refining the shape until it has the desired shape is similar to working with a piece. The individual pieces completed at the same time act as an element again in the larger screen, serving as a small piece’s form. 

The finished pieces take the most harmonious position for the canvas composition. In this way, the process of deleting and inserting shapes until I reach the scene that I feel is the most beautiful can be said to be the process of creating a piece with a greater meaning.

Flowers and plants we encounter in our daily life are kind subjects. Many of them are immobile and stationary in their place, but they appear in various forms that accommodate changes according to the environment. I do not perceive them as fixed or complete images, but accept them as formative elements of points, lines, planes, colors, and shapes.

When I find a subject I want to collect among the forms created by natural objects, I draw on the spot. I extract the components or elements I want to be influenced by or needed for future work and bind them to my notes. At that time, I  do not bring all the forms as they are, but remove the details and collect them in a condensed form.

After that, I continue referring to the drawings in my binding and adapt the artistic senses that come from them, and I try to learn the formative aspects and the colors through this process. While repeating the process of mixing or refining the drawings collected and reinterpreted on the canvas, by accumulating harmony and order of the formative elements, I wanted to discover my own sense of aesthetics. 

Eunju Kim attempts to sense light and capture it as a unit of particles and waves. After earning a bachelor's degree in Western painting at Chung-Ang University and a master's degree in the School of Fine Art at the graduate institution, she is exhibiting her works in various venues. The artist creates her own artistic universe by casting light and circular units over all objects. Focus on the shape of light projected onto the object rather than the object itself, and consider the origin of visible and invisible beings and include them in her works. 

Yerang Hwang depicts the contradiction and compassion of the familiar world. After receiving a master's degree in Korean painting from Sejong University, she broke down the boundary between western and oriental paintings, and reinterpreted oriental artworks from her own perspective. Concerned with the categories and medium of Korean painting, the artist experiments with several display approaches. Through the appearance of contradictory materials, visitors are prompted to consider the two opposing feelings, and the artist's vision of the world is depicted through the capture of everyday life. 

Philippe Parreno is a French Artist who rose to prominence in the 1990s, earning critical acclaim for his work that spans a diversity of media, including film, sculpture, drawing, and text. Parreno’s work redefined the exhibition experience by taking it as a medium, placing its construction at the heart of his process.
Parreno has exhibited extensively and has work in major institutions worldwide. His presentation at Cahiers d’Art inaugurates a year of major exhibitions and projects, including solo presentations at the Leeum Museum in Seoul, the Haus der Kunst in Munich, and an important project at the Fondation Beyeler in Basel.

Lee Ufan is a South Korean artist and art critic born in 1936 in Haman-gun on the southern Korean peninsula, then part of the Japanese empire. He moved to Japan when he was 20 years old, and developed a practice anchored in an Eastern understanding of the nature of materials together with an appreciation of modern European phenomenology. In 2009, the Japanese government honored Lee by conferring the Order of the Rising Sun for “contributing to the development of contemporary art in Japan.” In 2010 the Lee Ufan Museum, designed by Tadao Ando, opened at Benesse Art Site, Naoshima, Japan. Lee has had major exhibitions worldwide, including a retrospective at the Solomon R Guggenheim Museum in New York City in 2011. In 2014, he was selected for the contemporary art program of the Palais de Versailles, and in 2019 the Hirshhorn Museum and Sculpture Garden in Washington DC commissioned a site-specific installation for the museum’s plaza. Lee divides his time between Kamakura, Japan and Paris.

Ed. 6/10, 4AP, 3HC

Ed. 7/10, 4AP, 3HC

Zelalem Merga, a visionary artist hailing from Addis Ababa, Ethiopia, is known for his profound connection to emotions and the natural world. Born in 1989, he earned his BFA from Addis Ababa University Alle School of Fine Arts and Design (Graphics Department) in 2013, and currently resides in the vibrant Ethiopian capital.
Driven by passion and an unwavering commitment to innovation, Zelalem transforms discarded materials into mesmerizing works of art. His creative process is fueled by an innate desire to elevate the ordinary, encouraging viewers to reconsider the value of everyday objects and contemplate their own consumption habits.
In Zelalem's artwork, there is an underlying sense of disquiet, reflecting the complexities of the modern world in which we live. Through his masterful use of recycled materials, he constructs captivating portraits that challenge the status quo and leave a lasting impression on the art world. Each piece is a testament to the transformative power of art and the potential for renewal within ourselves and the world around us.
Zelalem Merga's work is not only an ode to the beauty and splendor of nature but also a celebration of human creativity and resilience. As an artist who truly embodies the essence of Artue's brand, we are honored to showcase his remarkable talent and share his unique perspective with our community of art enthusiasts.

It is composed mainly of new paintings and object-based works.

My work begins with the perspective of a person strolling alone through a city. People created cities and erected buildings out of necessity, but what truly protected the city, as people flooded in and then ebbed out, were the buildings that stood there, looking down on them. While some buildings possess great historical and artistic significance, most were ordinary, unremarkable buildings where people spent their daily lives. They were the face of the city, telling me different stories every day. People spend most of their time in the city, or more precisely, among these buildings. Above all, the city's buildings are built to be solid, and that's how they should be. I believe this mirrors the daily lives of people who live each day with a calm demeanor, concealing their complex inner selves. The buildings in my paintings, interwoven with lines that are solid yet gentle, linear yet organic, capture the emotions of those who live in the city.

As I mentioned earlier, I want to conclude by saying that every profession has a role to play within society.
As an artist, there's one story that I've always held close to my heart. This is a passage from a letter the painter Paul Gauguin wrote to a friend. I read it so long ago that I don't remember the exact text, but it's now a phrase I remember, slightly modified, as my own. "A painter is someone who captures the tremors of emotion so trivial and everyday that people often miss them and presents them to others." Even now, as an artist, this passage provides the basis for asking and answering the recurring questions, "What should I paint?" and "Why should I paint it?" It also fuels my hope that my work goes beyond simply expressing my emotions. I believe that my ongoing mission as an artist is to capture and visually present the tremors of emotion that people undoubtedly experience in life but fail to accurately express, or lack the need or space to do so.


For Hyunmo Yang, drawing is an observational attempt of self-reflection that leads to a process of balancing. Fragments of daily experiences and emotions manifest as oscillating lines or dense shadowy spaces-proving the interstices of Yang’s painting and existence.

Whispering Currents, Hyunmo Yang Solo Exhibition, ROY GALLERY Apgujeong

Born in 1990, Buwon had a profound interest in toys, play, and street culture from an early age. While studying industrial design at university, he became deeply immersed in 3D tools and created a rabbit character as a motif of himself. Buwon began to build his career as an artist, creating paintings and art toys.
 
Buwon wishes to convey messages about the journey of life and personal growth through his artistic expressions. His lovely rabbit character is the portrait of the artist himself, inspired by his childhood nickname. Behind the image of an adorable rabbit lies a cynical concern, intertwined with the artist's life. The artist draws inspiration from various experiences, conveying messages that encompass both positive and negative emotions, which include happiness, joy, anxiety, and fear.
 
Buwon comprises two distinct forms of art: paintings and art toys. The artist creates digital sketches before transferring them onto the canvas using acrylic paints. He often incorporates unique materials like fur or modifies canvases and panels to enhance his artistic expression and creativity. When it comes to his art toy production, he primarily focuses on creating the rabbit character. He first creates digital sketches and then builds their form through 3D modeling.
Once the design has been completed, he prints out the outcome using a 3D printer and carefully paints and finishes the toy.
 
Buwon has previously collaborated with renowned brands such as Hyundai Motor, Simmons, MCM, SJYP, Giordano, Line Friends, Nike, Asics, and artist Code Kunst. The artist is constantly expanding his artistic boundaries by holding exhibitions in different regions such as Las Vegas and Jakarta.

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