In DuRi Baek’s paintings, yellow symbolizes light, while green represents shadow. With only these two colors, the artist weaves narratives of human life onto the canvas. DuRi Baek places humans and plants, nature itself, side by side, regarding them with equal value. Whether it is a small potted plant by the window or a towering tree in a dense forest, all plants, to her, live in essentially the same way: through light, and the space it reaches. Light and shadow. She believes these two elements are enough, for now, to express how we live. For the artist, shadow is not the absence of light but its trace, its counterpart, and its evidence. The two coexist. She observes how plants twist their bodies toward the light, stretch their branches, and grow even while wounded. She sees in them a reflection of human life. In her paintings, shadows are not mere darkness but the marks of struggle, of motion, of the will to live. That is why her works are quiet yet unyielding, simple yet deeply resonant.

In Korean, there is the word “byeot-nwi” (볕뉘), and in Japanese, “komorebi” (こもれび), both describing sunlight filtering through the gaps and seeping gently even into shaded places. These words can also evoke the warmth of sunshine that reaches into the shadows, or the shadow of sunlight itself. They may be the closest linguistic reflections of DuRi Baek’s work. She paints the byeot-nwi, the sunlight that slips through leaves.

Jari 36

Wonkyo Choi explores the intersections where opposing or contrasting realms meet, overlap, or collide. Wonkyo’s work focuses on dissolving and reconstructing these boundaries, challenging the fixed notions of separation. Recently, the artist’s practice has turned toward the nature of images produced within digital environments. Also, the artist investigates their depth, expansiveness, weight, and spatial qualities—elements often overlooked in purely data-driven forms. By transforming these immaterial, digitally-generated images into physical and tactile presences, Wonkyo attempts to give form to the intangible, bridging the virtual and the real. the artist’s work not only questions the ontology of contemporary digital imagery but also proposes new ways of sensing and experiencing the image beyond the screen.


THEO

The creation

A life of comfort in the present may be easy, but I will pursue greater goals. The walls blocking my path are nothing more than glass—ready to be shattered at any time.

Gallery STAN

Wanted

When does following convention turn into submission?
The colour neon yellow in Pangestu’s paintings serves as a highlight in restoring control over the modified forms. The contrast visually emphasises a sense of structure, allowing the eye to perceive an illusion of the original square despite the underlying physical shifts. From a distance, the highlighted square in these works appears solid and whole, yet upon closer inspection, the lines are calculatedly positioned to adapt with the irregularity of the painting surface, trailing the flow of its tensions.
 
Are we shaping the structures around us, or are they shaping us?
By challenging the conventional boundaries of painting, Structure Control raises questions about concerns, restrictions, and the invisible forces that shape perception. Through these paintings, the push and pull between constrain and freedom unfolds, oﬀering a visual contemplation on the delicate balance of life.

Forced Interaction

“Spotted dog” attempts to create a unique layer of textures, colors, and forms of different media on a canvas, while also it is trying a sensual arrangement that reveals its presence. Artist HaSeulLin Jeong raises questions regarding the function of painting between image and substance. She is trying to figure out what painting can do at this time, when cognitive reference points will be re-adjusted to the new media environment. She examines the prospect that the medium of dialogue between object and picture transcends the correlation between the real and virtual worlds. 

Artue - Korea

Spotted dog

One day in her dream, the artist witnessed a special being segmented into geometric forms of cylinders, cones, and spheres. This fragmented body and face, named "Bob-hair" by the artist, serves as both her alter ego and muse, performing a dance on the circus stage. The image of Bob-hair struggling not to fall in this special space of fantasy and tension—the circus—left a powerful impression on the artist.

The works born from this experience reveal wit, lightness, elegance, and mystery on the surface, but beneath lies a deep existential anguish. The dream-state clown, who paradoxically experiences solitude and anxiety amidst endless audience demands and expectations, merges with the artist's mirror-self—the graphite face—expressed through the detailed visual language of her linework.

Yoon Mi-seon's paintings are built upon the strong contrast of light and shadow created by precise pencil lines. For the artist, black is not simply a color but a complete color in itself—a fundamental backdrop containing infinite possibilities. She creates the illusion of three dimensions through subtle variations in brightness, while intentionally treating certain areas with low brightness or limited color to achieve a paradoxical harmony between depth and flatness.

Gallery Kabinett

p25-4

The work is composed by borrowing a part of the work ‘Simhodo_Moonlight, Daylight’ and emphasizes the lesson of not judging people based on their outer parts of daylight and moonlight, respectively, by analogizing lunar eclipse = warm inner and cold outer parts of people, and solar eclipse = cold inner and warm outer parts of people.

Shimhodo_moonlight

Hyuck Jin Oh (b.1997) is a rising Korean artist whose work delves into the emotional complexity of the human experience. His distinctive approach to mixed media combines different materials with traditional pigments, creating textured, layered compositions that convey the emotional depth and warmth of life’s spectrum. Oh's art explores themes of healing, transformation, and inner balance, reflecting both the turmoil and tranquility that shape the human condition. Through his work, he captures moments of emotional struggle while offering a sense of peace—emphasizing that even in times of hardship, there is potential for personal growth and renewal.

In addition to his fine art practice, Oh actively collaborates with the music and media industries, contributing his visual work to album covers, films, and dramas. This interdisciplinary approach expands his creative reach, deepening his exploration of emotional landscapes. His exhibition in Bangkok marked an important step in his growing international presence, further establishing his unique voice in the global art scene. Through his art, Oh invites viewers to reflect on their own emotional journeys, offering a message of hope and transformation—that by confronting and overcoming adversity, one can make positive memories shine even brighter.

OBJECTHOOD

Fleeting Light, Endless Hope

Plants twist their bodies in search of light, sometimes tearing their leaves or leaving holes behind. These marks are not wounds but traces of survival, proof of life. The shadows cast upon them are not merely darkness but remnants of passing light and evidence of its presence.

In the artist’s paintings, shadows are not seen solely as darkness. They are places where light once dwelled, and imprints left by life. This perspective embraces even scars and confusion as part of existence, transforming negative emotions into vitality. In this process, darkness is no longer rendered as black but as a radiant green.

The 'Jari of Light' series is rooted in this philosophy. Each work is categorized as 'Jari', 'Majung', 'Bawi wi', 'Toward', or 'Hope', based on the position of tree shadows or the arrangement of compositional elements. Yet all are part of a single continuous flow.

Jari 26

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.

Cahiers d'Art

Philippe Parreno, Limited edition including original artwork

p24-33

CHO Minah delicately captures how the inner world of individuals transforms and responds within a contemporary society where conflict and solidarity, division and connection coexist. As both an observer and an insider, she constructs scenes interwoven with relationships, symbols, and emotions, unfolding the complex and ambiguous landscape of the present on the canvas like a parable.
Focusing on the will and attitude of individuals as they navigate life, she brings a contemporary sensibility to traditional Oriental painting materials, delivering a universal message that quietly reflects on everyday life and society


GALLERY IN

Today's Collection

Luke Park creates a new beauty through the aesthetics of imperfection and minimal expression on an empty canvas (x4)

Seasons (Series of 4)

The four leaves left by the shadow

Space776

첩첩산중 No. 22-1-34

This work was created by an artist who has held four solo exhibitions in Japan and is now preparing for their first solo show abroad. It carries a sense of determination to expand further into new places and a message of encouragement to oneself.

Division

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)

“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


ROY GALLERY

Flexible Forms 10.13

My faint light bent in a wavering arc. Swaying with unease and fragility, I barely traced a dim glimmer. I moved toward the light—clear in aim, but lost in direction. I gradually developed a sense for detecting and escaping the abyss of despair and the weight of its repeating patterns. Each crisis sharpened my acuity. I responded finely, moved in subtle steps. What may seem like reckless intuition was swift judgment, honed by time. The hours carved into my heart fed my intuition, nurtured my sensitivity. I evolved, bracing for the next trial. Sensitivity became my chosen trait— a way to survive, a skill to catch even the faintest light. I twisted, reached, and stretched as far as I could. Through the ground, into the sky. I bask in everything. /Text. DuRi Baek

Jari36

Artist GBDAY’s interest in art grew when he first encountered skateboarding culture and fashion during his adolescence. The artist later began to work on graphics and paintings during his studies in graphic design at university. His artistic stage name, "GBDAY," stands for "Good Day & Bad Day," which contains the artist's desire to illustrate different experiences and emotions of his daily life.

His stage name and its meaning profoundly influenced the world of his work and its creation. 

The artist gains inspiration from human relationships, emotions, and social phenomena he captures daily. His work mainly deals with themes around love, separation, emptiness, and death. The artist links these themes with the skeleton motif, influenced by tattoos, skateboarding culture, and
hip-hop and band music he listened to. The Skeleton motif symbolizes an equal and pure being that everyone, regardless of gender or race, can sympathize with and illustrates the world beyond reality and death. Moreover, Cherry denotes the uncertainty of life, desire, and fruition, and Butterfly portrays life after a newborn death. 

GBDAY uses drawing as a subject that best reveals himself. His works mainly focus on graffiti and pen drawings, although he continuously experiments with various styles and media to develop a unique work. He currently uses graphite and acrylic paints for most of his works, aiming to expand his ways of expression. Furthermore, the artist frequently presents parody-based works where he adds a twist to an existing painting or work that may be familiar to the audience. The artist claims he enjoys creating parody-based works because he wishes his audience to approach art more easily and have some fun interacting with his work. 

"Life Goes On" is a message that signifies not only GBDAY's art but also his life philosophy.

The artist intends to deliver joy and happiness to the audience through his work, conveying the bliss of our life journey. GBDAY is interested in exploring new styles and materials to convey a wider range of emotions in his art.

Evi Pangestu (b. 1992, Jakarta) is an Indonesian painter based in London. She started her formal training in painting at the Indonesian Institute of the Arts Yogyakarta, then moved to the UK to finish her undergraduate degree in Birmingham School of Art. In 2019, Evi received an MA in Painting from the Royal College of Art, London. 

Evi Pangestu’s artistic practice establishes a framework of control within the square and grid structures of painting, while simultaneously visualizing the rebellion that shakes those foundations. This exhibition aims to expand this narrative into the physical and psychological experiences of the audience, encouraging a ‘forced interaction’ with the artworks. The neon yellow highlights in Pangestu’s works serve as visual cues, reminding us of the potential for rebellion that lies beneath a seemingly stable facade and visualizing the vibrant energy that emerges from the cracks.

HaSeulLin Jeong has an interest in paintings that are located between images and materials and can simultaneously deduce the axis of time. She is a graduate of the Korea National University of Arts and the Academy of Fine Arts in Prague, where she studied Printmaking and Painting. Later, the artist deliberately leaves traces of the previous layer or creates a support structure that will be influenced by the prior and following layers of paint, resulting in visual interpretation. HaSeulLin Jeong's artwork provides the viewer with the experience of pondering for a prolonged period of time, imagining the source of the material, and sensing that the senses are real through an individual sense that is intuitive and universally shared. 

Mi Seon Yoon’s work is given vitality through the temporal narrative of her life. Her portrait works, completed in the form of repetitive spheres, are colored with graphite to add emotional depth. The works are given the meaning of an act of resolution because they begin with an obsessive life experience. In this way, Yoon’s works are unique focal points that reveal emotional darkness in its pure raw form.

Using the traditional techniques of Buddhist art, he has been working to address various contemporary narratives by utilizing his own ‘minority’. His works combine narratives from his personal experience with religious and queer narratives, and through the various contradictory questions that emerge from this process, he asks essential questions about the dichotomous concepts of minority and majority that constitute contemporary society.

Korean Traditional Painting in Alter-age, Ilmin Museum of Art

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.

CHO Minah delicately captures how the inner world of individuals transforms and responds within a contemporary society where conflict and solidarity, division and connection coexist. As both an observer and an insider, she constructs scenes interwoven with relationships, symbols, and emotions, unfolding the complex and ambiguous landscape of the present on the canvas like a parable.
Focusing on the will and attitude of individuals as they navigate life, she brings a contemporary sensibility to traditional Oriental painting materials, delivering a universal message that quietly reflects on everyday life and society.
Her major solo exhibitions include 《Swaying moment》 (2022, Gallery MEME), 《 Those Days Are Scattered》 (2021, ArtSpace Boan2), 《 Subtraction, Division and Addition Again》 (2020, Kumho Museum of Art), and 《Deafening Silence》 (2018, OCI Museum of Art). She has been selected for notable programs such as the Kumho Young Artist program, the Gwangju Hwaru Excellence Award, and OCI Young Creatives. Cho has also participated in several artist residency programs, including Kumho Art Studio, Gyeonggi Creation Center and OCI R1211


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. 

Seasons

Gyume is interested in the form in which invisible things such as air, wind, appearance, and extinction are visualized in the digital space and overlaps the images collected through it into the actual painting space. It freely uses the large and distinct cadence and vitality created by irregular shapes and lines, flexible brushes and paint marks as if swimming in aesthetic space.

His paintings employ layered images of vast natural elements—mountains, oceans, and the 
cosmos—built up through transparent layers

Born in 1993 in Osaka, the artist began their career as a tattoo artist. Since 2014, they have been based in Tokyo, working first as a staff member at a Harajuku apparel multishop, before expanding into graphic design. They later established their own tattoo studio and office, "TAPPEI ROOM," in Nakameguro.
In 2022, they collaborated with brands such as NIKE, UNDERCOVER, and BEAMS. In 2023, they made their debut as a guest tattoo artist overseas and began publishing a four-panel comic series in the culture magazine EYESCREAM.
They work across a wide range of media, using everything from canvas and their own body to human skin, paper, and clothing as platforms for expression.

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

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

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