Pierre Paulin’s “Alpha” furniture series was first designed in 1970 for President Georges Pompidou’s private apartment in the Élysée Palace in Paris. Earning its name from the original manufacturing company that produced the model, the present lot represents a turning point in French design aesthetics. New technological innovations, including polyurethane foam, allowed Paulin to create forms which were more organic and sculpted. His resulting furniture invited relaxation. The present lot’s cream-colored curves and contours with soft fabric upholstery lure individuals to peacefully recline. Together, the sofa and armchairs constitute a complete living room suite. The present lot is a fantastic opportunity to acquire a contemporary edition of these iconic designs.

Pierre Paulin is a French architect and furniture designer who was active in the late 20th century. His designs are characterized by their curved, flexible, and innovative features, and he is often hailed as an icon of 20th-century design alongside Brutalism.

Paulin, Paulin, Paulin® is a family-owned brand established in 1927 by Pierre Paulin, renowned for its exceptional quality. Through their unique designs, they innovate spaces and stimulate the visual senses of observers. Their works primarily emphasize material selection and design finesse, offering aesthetics that transcend time, representing a significant brand in France's design heritage.

Paulin Paulin Paulin

Alpha Club Chair

The Alpha Sofa is a graceful blend of form and function and radiates magnetic allure like no other. Its stunning and meticulous design includes cushy channels and charming curves that never disappoint. Let yourself be enveloped in warmth and softness, akin to a comforting hug. 

Alpha Sofa

Pearl Lam is a driving force within Asia’s contemporary art scene. Founded in 2005, the gallery plays a vital role in stimulating international dialogue and cross-cultural exchange between the East and West.

Following a rigorous programme, Pearl Lam presents museum-quality exhibitions that re-evaluate and challenge perceptions of cultural practice in Asia. With a thoughtfully balanced roster of Chinese and international artists, the gallery is strategic in its curation, positioning itself as an educator.

The gallery maintains spaces in Hong Kong and Shanghai. With a team of international staff, Pearl Lam’s reach is global, having presentations at major international art fairs including Art Cologne, Art Basel Hong Kong, Frieze Masters, and West Bund Art and Design.

Pearl Lam

Pattern 8

Winter Still Life

Your Worst Sin Is That You’ve Destroyed and Betrayed Yourself for Nothing

Gus Monday (b. 2000) studied a Foundation in Art & Design at the City & Guilds of London Art School in 2019, and currently studying painting for a master’s degree at Royal College of Art (RCA) in London. He grew up within a Southern African context and he thinks that to large an extent it shaped the way that he is socially and culturally aware, especially moving between a developing nation and this 1st world country. His works are representations of spaces utilising coded narratives and symbols, some observational whilst others autobiographical. He is working with beyond the realm of the personal, toward spaces with more social significance.
In addition, several group exhibitions are planned for 2024 in several countries, including Korea, the UK and Spain.

SEOJUNG ART is an art gallery that strives to engage with the public as an institution dedicated to exploring new cultural and artistic possibilities, with a focus on contemporary art. Established in 2015, SEOJUNG ART has played a pivotal role in recognizing and fostering emerging talent both locally and on the international stage. Following its success, the gallery has further expanded, opening branches in Seoul and Busan.

SEOJUNG ART astutely identifies trends in both domestic and international art culture and markets, aiming to propel artists onto the global stage. As part of its mission to foster dialogue with art professionals, the gallery has showcased emerging talents at numerous international art fairs in cities such as Paris, Miami, and Tokyo. Additionally, the gallery is forging connections on the international scene by presenting solo exhibitions featuring artists, like Rusudan Khizanishvili and Guy Yanai, who have not previously been showcased in Asia, especially Korea.

SEOJUNG ART aspires toward sustainability in our timely quest to find aesthetic methods and actionable plans for art, with an emphasis on its public nature. Its ongoing interest spans not just the realm of art but also broader societal issues that are emerging as long-term challenges, which allows it to deliberate on the sustained influence of artistic practices. By offering a new perspective, the gallery is in pursuit of ways for art to gain a footing as a universal value, moving beyond domestic activities and towards global interaction that benefits society as a whole.

In addition to hosting exhibitions, SEOJUNG ART offers educational programs, including art theory lectures and seminars to provide more comprehensive and profound understanding of art. Through persistent and thoughtful efforts to lower the barriers to art and widen its accessibility for the broader public, the gallery seeks to foster a fresh realm of communication, encouraging ongoing dialogue within the community.

In its endeavors, SEOJUNG ART emphasizes enriching the aesthetic value in everyday life and strive to cultivate a progressive international art and culture network. By promoting the artistic integrity and value of creators, it is committed to playing a central role in the advancement of the Korean art scene. With a foundation in artist sponsorship, nurturing, and discovery, it breathes vitality into the art world. As an institution always in pursuit of innovation, SEOJUNG ART continues to exert a lasting influence.

SEOJUNG ART

Institutional Performance, V&A

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.

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

虎上 One upper

This signed and numbered silkscreen on crystal paper thus became a work of art on paper in the strict sense of the word. The silkscreen exists in two formats, together with similar and drawings. He uses, faithful to his universe, primary colors and abstract and conceptual geometric forms. His geometric forms celebrate movement, expansion, circularity, and the articulation between the geometric and the organic.

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

Untitled

PM5 #1 is an exceptional artwork by the accomplished artist Kim Nampyo. Using his distinct realistic yet fantastical style, the artist intricately explores the themes of body, fragments, abstract, and sexuality in this unique ensemble.Derived from his abundant experience with on-site landscapes and life forms, PM5 #1 is a poetic manifestation of Kim's remarkable ability to bring together diverse elements in a single exhaustive piece. His unparalleled ability to bridge the realms of the vividly real and the imaginatively abstract are significantly evident in this artwork.Focusing on the themes of body and sexuality, Kim challenges societal norms and expectations. He plays with our perception of form and matter, his strategic fragmentation serving as a thought-provoking metaphor for self-exploration and identity. Each fragment cleverly amalgamates to form a whole, an abstract representation of the human body, highlighting the complexities and nuances of our physical existence.Kim Nampyo's PM5 #1, coming from an artist known for his imaginative compositions of landscapes and wildlife, serves as an intriguing glance into the world of abstract human sexuality. Like his many successful exhibitions and recognition worldwide, this artwork too seems ready to resonate with viewers on a unique and personal level. The artwork provides viewers with an exciting opportunity to see Kim Nampyo's unique take on the abstract and familiar, representative of his expansive artistic abilities and profound intellect. 

Obscura is a Seoul-based art gallery that first founded in 2015, then as SPACE IKKI, located in Seoungbuk-dong area. The name of the gallery derives from the Latin phrase camera obscura, meaning “dark room,” which refers to the first optical device used as a painting-aid, whereby an image is projected through a hole onto its opposite wall in a darkened room. 
​Obscura aims to make contemporary art accessible to a wide range of audience and provide various artistic and cultural contexts for interdisciplinary efforts, by emphasizing performative elements of curatorial practice and exhibition making. With keen eyes on sophisticated work by artists with solid and idiosyncratic practice, Obscura has been supporting and promoting contemporary artists in the fields of painting, installation, photography and new media.

Obscura

PM5 #1

아투(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

Haok Valley-Down #B

After releasing her first web cartoon series in 2014, Hyeon- A Cho made her name with Your Letter in 2018. Adapted into an animated film, Your Letter tackles the critical issue of school violence and leads to a rediscovery of childhood friendship, the magic of nature, and goodness in humanity. Cho's work prompts the audience to wonder about the backstories that lie behind her characters imbuing her narratives with startling complexity.

Your Letter

Chang Sook Young goes beyond the mere representation of objects, focusing on grasping their essential characteristics. She honed her painting skills and refined her emotional expression in her artistic journey. The delicate observation and expressiveness she cultivated through life have led her to adopt various materials such as colored pencils, pastels, and gouache. These tools allow her to create rich presentations within a single canvas. Typically, she completes the basic sketch with colored pencils and pastels and then overlays it with a mixture of gouache. ‘Resonance Moment' sketches life's realizations captured by the five senses using everyday colors. This process seems to echo the depth of faith and contemplation that has matured in her life, bringing meaningful resonance to her works.

Resonance Moment

Yislow's sixth solo exhibition, "THE PRESENT," is a showcase of new work that explores the artist's aesthetic search for the most honest and natural paintings with no embellishments.The exhibition consists of a total of 26 paintings and a three-dimensional immersive space that graphically utilizes images of the artist's works, along with some of the art products (goods) that have been produced with the artist's images over the years, providing a diverse viewing experience. In addition, the artist's attitude towards the exhibition is reflected throughout the space, such as adjusting the eye level to a slightly lower adult standard. 


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.

Faces 2

Yerang Hwang captures her empathy for the vaguely familiar landscapes and contradictory beings extracted from life on canvas. She is intrigued by the world, the beautiful and sorrowful relationships, and the cycle that humans and nature provide. With the desire to create unique works, she had many considerations about materials and methods of expression. In 2019, she chose a style that focuses on lines and colors while seeking the most fundamental painting material that best suits her. She works meticulously, sketching lines with a pencil and coloring on small pieces of paper, hoping for moments when her desire to depict and her perspective of the world coincide.

Rose

Kukje Gallery, initially founded in Seoul’s Insa-dong by chairman Hyun-Sook Lee in 1982, relocated in 1987 to its iconic K1 building in the heart of Sogyeok-dong, a neighborhood rich with historical and cultural context. Since its inception, Kukje Gallery has served as a vital cultural hub in Seoul, introducing important works by renowned modern and contemporary artists. Major solo exhibitions have showcased the work of internationally acclaimed artists including Louise Bourgeois, Alexander Calder, Anish Kapoor, Robert Mapplethorpe, Candida Höfer, Jenny Holzer, Bill Viola, Ugo Rondinone, Roni Horn, Jean-Michel Othoniel, and Julian Opie. At the same time, Kukje Gallery has been committed to educating collectors and institutions across the globe on Korean art history, as well as promoting the work of some of the nation’s most important artists including Wook-kyung Choi, Kim Yong-Ik, Koo Bohnchang, Ahn Kyuchul, Hong Seung-Hye, Kyungah Ham, Haegue Yang, Sungsic Moon, and Suki Seokyeong Kang. Also a regular participant in international art fairs including Art Basel, in which the gallery has taken part since 1998, Kukje Gallery remains deeply committed to establishing dialogue with international audiences previously unacquainted with Korean art.
Equally as important, Kukje Gallery supports important postwar Korean artists including Kwon Young-Woo, Park Seo-Bo, Ha Chong-Hyun, and Lee Ufan. Internationally recognized as the leading champion of “Dansaekhwa (also known as the Korean Monochrome),” Kukje Gallery has introduced these seminal artists into the global art scene. As Collateral Event of the 56th International Art Exhibition – La Biennale di Venezia in 2015, the gallery mounted an unprecedented exhibition of Dansaekhwa artists, celebrating these important figures and providing essential context to recognize their historical contributions. The following year, the gallery launched another special exhibition in collaboration with the Boghossian Foundation in Brussels, titled When Process Becomes Form: Dansaekhwa and Korean Abstraction. In 2018, Shanghai’s Powerlong Museum presented Korean Abstract Art: Kim Whanki and Dansaekhwa, the first-ever comprehensive exhibition of Korean abstract art to be held in China, which established a platform for continued dialogue on the aesthetic impact and ongoing importance of Dansaekhwa internationally.

Kukje Gallery

Crew 2 (Gyeongbok-gung)

This is one of a series of experimental paintings that combine the keywords ‘night landscape’ and ‘anxiety’ to discuss the uneasiness that comes with the decision to become an artist. In his recent paintings, the artist addresses feelings of anxiousness resulting from personal experiences and social events. His work is based on photography and includes realistic arrangements, figures, and light. During the process, the narrative is erased, cropped, or partially enlarged, and the brushstrokes cover the canvas with unpredictable expressions. With the recurrence of questionable decisions and erasures, the original context of the piece is removed, leaving it with an unclear unease. The artist draws attention to the existential concern that exists on the periphery of contemporary human society by intertwining the act of painting with images of insignificant habits of daily life that are caused by anxiety. 

From the Event

Alex Cho observes the subtle moments of mistranslations in his works. For him, these mistranslations are akin to off-pitch harmony or miscommunication that somehow makes sense. Information seems to overpower reality, appearing as translated or compressed surfaces. Amidst the current state of information overload, the artist seeks out gaps and errors that feel awkward. Using floaty drawing elements and a loose, painterly expression, the artist aims to react to and reassemble encountered information and events, creating new possibilities. The artist hopes to capture moments of awkwardness in these ambiguous spaces. His works resemble anti-humor jokes or awkward silences. The desire to go beyond information and drifting thoughts emerges on the surface of canvases as mistranslations, even if only superficially.

GALLERY IN, located in Yeonhui-dong, Seodaemun-gu, is a space dedicated to making Contemporary Art easily accessible and friendly to the public. We aim to introduce artists, both domestic and international, fostering communication with art lovers through various exhibitions. GALLERY IN annually showcases an exhibition featuring Japanese craft artists. We have plans to create various projects beyond crafts in the future.

GALLERY IN

“18!Practice” is an artwork that reorders the placement of two plates of differing sizes on canvas and inverts the pictures of plate 1 and plate 2. With these techniques, the artist creates an entirely new image by rearranging the layers in a different order, even though the layers themselves remain the same. The artist raises questions regarding the function of painting between image and substance. By painting, she uses various approaches to portray the axis of time. Throughout the work, it leaves clues to infer the time axis or builds a dependent structure that paints layers impact one other to generate visual interpretation. 

18!practice

Pierre Paulin, born in 1927, originally trained as a sculptor but shifted to design after injuring his right arm. His iconic designs for Artifort in the 1960s, including the Mushroom Chair and Ribbon Chair, showcased his innovative use of materials and clean lines. Influenced by German design principles and early modernists like George Nelson and Charles Eames, Paulin also emphasized the social aspect of modern design. His work adorned prestigious spaces like the Élysée Palace and the Louvre Museum's Denon Wing. Posthumously awarded the title of "Royal Designer for Industry," his designs remain timeless icons of 20th-century design, epitomizing the essence of Brutalism.

2 seaters

3 seaters

Channing Hansen was born in 1972 in Los Angeles, USA. His knitted works tread the line between painting and sculpture with their web-like construction occasionally revealing the stretcher behind.
Their relationship to craft may initially seem to be at odds with the scientific concepts informing the algorithm. However, bringing these two disciplines into dialogue allows Hansen to explore the tension between chaos and order, as the artist’s hand introduces human variability within
an otherwise programmatic composition. This is evident in the forms his textiles evoke, which might resemble tendrils of DNA, crystalline structures, or biomorphic shapes.

Michal Korman (b. 1987) began his art education at the age of five when the Slovak academic painter Jozef Jelenak (working in the tradition of expressionism) admitted him to his courses for children at the school of art in Korman’s hometown, Partizanske. These classes formed his artistic
foundations over a period of three years.In 2005, Korman manifested his specific style: a combination of graphic like oil painting branded with his signature as a logotype.

Anya Paintsil (b. 1993) is a London-based textile artist of Welsh and Ghanaian descent.
Combining traditional hand rug making techniques with Afro hair styling methods, Paintsil’s practice is largely autobiographical. She takes inspiration from her childhood, family stories, and Welsh and Ghanaian mythologies, while exploring identity and gendered labour. Paintsil seeks to promote artistic practices historically devalued due to their associations with femininity and other marginalised groups.

Gabriel Orozco attended the Escuela Nacional de Artes Plásticas between 1981 and 1984 and in 1986, moved to Madrid to continue his studies. In 1987, Orozco returned to Mexico City, where he associated with a group of other artists including Damián Ortega, Gabriel Kuri, Abraham Cruzvillegas and Dr. Lakra. This group met once a week for five years to talk about myriad artistic and cultural projects. 
Orozco has had many important solo exhibitions, including the Museum of Contemporary Art in Los Angeles, in 2000; the Hirshhorn Museum, Washington D.C. and the Serpentine Gallery, London in 2004; the Museo Nacional Centre de Arte Reina Sofia, Madrid, (2005); the Museo del Palacio de Bellas Artes, Mexico City and the Museum Ludwig, Cologne (2006). The Museum of Modern Art in New York organized a mid-career retrospective that toured to the Kunstmuseum Basel, the Centre Pompidou, Paris, and ended at the Tate Modern, London, in May 2011.  Other important solo exhibitions include the Guggenheim Museum, New York, 2012, the Museum of Contemporary Art Tokyo MOT, Tokyo, Japan (2015);  and the Aspen Art Museum, Aspen, in 2016. Orozco participated in the Venice Biennale in 1993, 2003, 2005 and 2017, the Whitney Biennial (1995 and 1997), as well as Documenta X (1997) and Documenta XI (2002). 
In 2019, the President of Mexico announced that Orozco would, in conjunction with the Secretariat of Culture, oversee the construction of a major new cultural center within Chapultepec Park in Mexico City. Gabriel Orozco lives and works between Tokyo, Mexico City and New York.

Ed. 9/80, 10HC

Ed. 6/80, 10HC

Ed. 8/80, 10HC

Kim Nampyo creates realistic yet fantastical artworks. He has presented works featuring tigers emerging from the sea and zebras appearing in front of the Independence Gate, showcasing his imaginative compositions. In recent years, he has focused on realistic landscape works that prioritize on-site experiences, depicting the seas of Jeju and the Himalayan Everest mountain.
Kim Nampyo graduated from the Department of Western Painting at Seoul National University's College of Fine Arts with a B.F.A. He later received his M.F.A. from the graduate school. He has participated in over 20 solo exhibitions and more than 60 group exhibitions domestically and internationally, including "Drawing Jeju Island" (Gyoboa Art Space, 2022), "Instant Landscape – Goosebumps" (Gana Art Center, 2017), "Instant Landscape" (Gana Art New York, 2009), and "Instant Landscape" (Gallery Hyundai - Window Gallery, 2007). He has also participated in international art fairs such as Abu Dhabi (UAE), Art Central (Hong Kong), and KIAF (Seoul). He has won the Grand Prize at the National University Art Exhibition and the Gold Prize at the Creative Arts Association competition in South Korea. His works are held in collections at institutions such as the Seoul Museum of Art, the National Museum of Modern and Contemporary Art, Korea, the Seongnam Cultural Foundation, and the Suwon Art Museum.

Lee Koz, through her artwork, delivers a deep contemplation on profound themes. The boundaries between memory and dreams, and the translational gaps and accompanying confusion that emerge from these boundaries, are experiences many people encounter but find difficult to articulate clearly. The artist attempts to represent these intricate concepts through her paintings. She explores how techniques evolve between the history of representation and the desire for documentation. Reproduction raises questions about what and how we remember, and these questions play a central role in a artist's creations. Lee Koz communicates his unique perspective on memory, dreams, and the spaces in between through her art. By addressing these topics, she connects with the lives of all, providing an opportunity for deeper thought and self-reflection.

Hyeon-A Cho is currently working in Seoul and made her debut in 2014 with a short story series titled <Water tank> on Naver Webtoon's Rookies's short stories. The following year, she posted another short story, <Lunar New Year's Eve>, on the same platform. In 2018, she received the 2019 Today's Our Comics Award and the China Jinlong Award for Foreign Comics for her work <Your Letter>. Currently, <Your Letter> is being produced as a theatrical animation and plans are underway to publish a North American comic book version soon. While drawing advertisements and cover illustrations for young adult novels, she is preparing for her next work, <Santa Scout>.

YISLOW focuses on various relationships that form human life. However, characteristics of YISLOW’s world of art does not limit its subject of the relationship to humans but includes abstract realms such as time, incident, objects, or even oneself. By heaping disordered lines and colors that bloom from the heart, the artist tries to capture the undefinable infinite image like the random atypical humming that vanishes in her work. Perhaps the work of YISLOW is most like the imagery when the word ‘innocent’ is interpreted in the language of visual art.

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. 

Jina Park employs snapshots to capture scenes of the everyday and translates them onto the canvas as paintings. Portraying the colorful expressions of exhibition installation sites, performance rehearsals, and night time sceneries, the platform of paintings allows the audience to look back on the otherwise unnoticed or forgotten mundane life anew. Simply defining painting as “both an image and a material,” Park focuses on its unique materiality. As her working process concentrates on repetitive physical contact with the canvas, the transient moment captured by chance with the camera is reconstructed on the canvas over a prolonged period of time. The fleeting moment that could have been easily bypassed, dons new materiality and temporality. One figure may repeatedly appear in various works, while another figure may appear numerous times within a single frame. Sometimes multiple photographs are rearranged into one composition. As such, Park’s paintings are the products of combining images from various timelines through her own painterly perspective.

Kyukun Kang depicts the narrative in the uncertainty of daily life, which consists of light and darkness. After completing a bachelor's degree in Western painting at Gachon University and a master's degree in Western painting at Sungkyunkwan University, he has continued to draw unpredictable scenarios on canvas. His work, which reflects ordinary daily life and characters, includes clear contrary between light and shadow. Through an anxious, dreamy, and melancholy atmosphere, the artist takes the audience into their inherent stories. As a beginning point for his paintings he uses people's unstable features exposed to an unpredictable future, thereby inspiring people's imagination of events that would occur after the scene. 

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. 

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