Bac Jungwon is an artist who continually captures and reflects on extraordinary moments found within repetitive daily life through her paintings. She frequently paints watercolors focusing on the theme of 'withering flower vases', capturing the ephemeral moment when a perfectly poised flower starts to lose its original color and vitality. Beyond a simple still life, this imagery becomes a metaphor for the frailty of human life. Following the painter's destiny of capturing fleeting moments, she becomes an observer of everyday life and documents this process. 'Lonely flower' serves as a continuation of these works, narrating the tale of a flower that, while graceful, is in its most grotesque stage as it withers. Park captures the frail, twisted shape of the flower, reminiscent of thin, long fingers, and the faded hue of its petals on a large canvas, exaggerating and boldly representing it. She pours, rubs, wipes, and scrapes paint on the canvas, utilizing a technique that conveys the beauty and simultaneous dread of the notion of death.

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

Lonely flower

"Old School – Rodin" by Yunseob Kim is a part of his series 'Old School'. This meta-critical painting began with a critical awareness of exhibition design art and the prevalent ideological, conceptual, and methodological art in the contemporary art market. He criticizes postmodernism, which is separated and conceptualized and replaces all art genres with attempts, and first-generation modernists, the starting point, and presents works that are reproduced and studded in the way they sought to destroy academism. Beyond the artist's lengthy devotion to flat painting through his diverse body of work, he forges his own route as a modern image creator, posing issues about the present location of modern art. 

Old school - Rodin

“Forest” is one of a series of paintings titled <Seasons>, that portray the moment when things collide and break into their raw, unrefined form. The artist visualizes our lives and feelings on the canvas using line and color, excluding other media and expressive techniques in an attempt to capture something with the flow of the brush alone. The connection between the fragments that resemble scars and the process of struggle and triumph in our life conveys that the journey is beautiful in and of itself. He hopes that the audience would experience the beauty of emptying themselves of their own demands, difficulties, hurts, and sorrows and filling themselves with something new.

Forest

Day-Hour-Minute (2023) is a series that takes inspiration from the fact that the unit of time following the arithmetic law is the segmentation of the angle of a circle. Over the six months of preparation for the exhibition, the artist recorded and transcribed the daily movements onto a circular timeline.

KICHE aims to present the works of both Korean and international contemporary artists, building an
alternative platform for communication, cooperation, and partnership within and outside the art scene.
The gallery seeks to experiment its mid-long term vision by closely collaborating with art experts and
institutions, establishing itself as a creative, engaging gallery space. With such approach, KICHE
continues to play a role in deepening the artist’s unique practice; as well as, expanding the extent of
opportunities and exposures.

KICHE

Day-Hour-Minute_20 Hours 40 Minutes

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Yihyun Kim imbues her works with messages about unanswered fervent prayers. Her piece 'Pray 1' depicts a heavy, dark wreath oppressively looming over a person praying earnestly in front of repeating Buddha images. The front of the wreath, with its clear symbolism and meaning, contrasts with the back, which, devoid of any discernible information, resembles the dichotomy between heaven and hell. She points out that the symbolic shapes and lines set against the backdrop of red and blue hues in her work ultimately represent moments humans wished to avoid. Through the portrayal of a person offering desperate and vain prayers for a capricious heaven backed by hell, Kim questions the essence of prayer, encapsulating its poignant yet transient nature.

Pray 1

'Jump' 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. 

Jump

 takes interest in compiling memories through unconsciousness and the act of recording them and explores intensively the narrative imagination comes from the process of personal records being converted into images. The series J-D – which started from a dream journal with records of repetitive dreams – is based on the confusion coming from when specific memories that are the basis for dreams do not match with scenes from dreams. To respond against this confusion, the artist records her dreams in words and partially use them for her works; the fragmented memories, scenes, and records move onto the canvas as subjects, with their unique position and space while sometimes being exaggerated, diminished, or distorted. With that, LeeKoz’s canvas turns into a space where dreams or memories overlap while another narrative is created. On the other hand, Training Journal Drawing series is made with drawings and paintings, which come from the artist’s writings and videos made during her experience of being a member of social baseball team. Eventually, for LeeKoz, the act of ‘recording’ works as both a response to internal confusion and a driving force for the artist to create her works.

A-L, located at Jongno-Gu, Seoul, suggests wide spectrum of contemporary art-world, via exhibitions and projects which enables our clients to understand current trends of contemporary art. Our gallery strives to, not only discover talented and promising artists but also aid them to be active world-wide. We are currently focusing on various foreign art fairs, hoping that in near future, we could establish diverse channels for our artists to go abroad. By inducing our artists’ productive activities, we would like to provide opportunities for Korean art-lovers to communicate closely.

J-D Under Haok Valley, Haok-ri, Jukjang-myeon, Buk-gu, #A

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.

What kind of house will we live in next? 1

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This mixed background continues to influence his explorations that fluctuate between both two and three dimensions. He is often at home when exploring concepts in motion and space and their relationship to the more static surfaces of graphic design. 

Counting Seconds As Opposed to Hours.

Xian Kim (b. 1992) graduated with a Bachelor's degree in Printmaking from the Academy of Arts & Design at Tsinghua University, China, and subsequently completed her Master's at the Central Academy of Fine Arts, also in China, specializing in Printmaking. Kim reimagines familiar biological forms and objects with a texture akin to plastic, focusing solely on their essence by stripping away all non-essential elements commonly encountered in everyday life. The still life compositions of re-envisioned objects and organisms exude an absence of warmth, yet they remain objective, simple, and sometimes brutally honest. Through her works, everything within the canvas exists in an ideal state of non-existence, free from the complexities of reality—conceptual layers are removed, creating a unique utopia exclusive to Xian Kim.


ARTSIDE Gallery is a hub that connects Asia, Europe, and the Americas, and has been aiming to serve as a borderless passageway in the art market by suggesting the direction of activities to home and abroad artists. The Gallery was founded in Insa-dong in 1999 with a practical motto: ‘Art is an endless centralization of margins.’ It has since introduced Korean art to international art circles, promoting Korean artists globally and, at the same time, has introduced international art to Korean art circles. And it has established itself as a gallery on an international scale by discovering new artists and participating in domestic and foreign art fairs. Since then, Artside Gallery, which has been relocated to Tongui-dong, is striving to present new and novel exhibition plans by continuously discovering internal and external artists. Artside Gallery will continue its originality in keeping with the new trends and directions of the art world to become an important pathway and foundation for advancing to the international stage and will continue to serve as a hub for the overall art scene at home and abroad.

ARTSIDE Gallery

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Townhouse

Jihye, born in Seoul in 1993, is an artist who uses photography, videography, and writing to capture the essence of everyday life. Her fascination with her surroundings began at a young age when her father gifted her a camera. Her passion for recording the beauty of mundane moments has only grown stronger over time. Jihye's art is a reflection of her belief in the power of capturing and preserving moments that are often overlooked. Through her lens, she finds joy in revealing the beauty of the everyday world, from the landscapes that she encounters to the people she meets. Her work serves as a reminder that it's often the small, seemingly insignificant details that make life worth living. Jihye's art is deeply personal, yet it speaks to universal truths that connect us all. Through her art, she hopes to inspire others to appreciate the beauty of everyday life and to find joy in the moments that might otherwise be forgotten.

Under the small light 2

Sweet Home

Gallery Hayashi was established in Tokyo, Japan in 2008 as an art dealer specialising in 20th-century Japanese paintings and drawings. In 2018, co-directors Kohsuke Hayashi and Atsushi Suzuki launched Art Bridge to focus on the practices and artistic development of young emerging artists. GALLERY HAYASHI + ART BRIDGE exhibits the works of major Japanese post-war artists as well as emerging Asian and global contemporary artists.

GALLERY HAYASHI + ART BRIDGE

ONDE

Joonun Kim brings easily accessible objects and images from daily life into the canvas after undergoing slight modifications. Sharing what is seen through her eyes as a painting serves to treat life as research material; at this moment, life and objects take on an equal stance for her. To share her keen observations, Joonun Kim employs painting, strategizing to communicate using the most recognizable images possible. Subjects with simple compositions and easily recognizable appearances generally have subtle emotional expressions and exist embedded within the painting. Those objects stuck on a thin canvas and not absorbed anywhere, are deliberately presented with reduced weight, being conveyed to the viewer's subconscious. While the subjects in the paintings seem to occupy a prominent position, they leave behind a faint, ghostly afterimage, conveying an inexplicable melancholy to the viewer. She has made an effort to paint simple subjects in such a way that life and objects appear differently to the viewer.

The flowers soon revived in water

Bac Jungwon has drawn compositional paintings that express the invisible emotions and minds of humans through various scenes encountered in daily life. After receiving a bachelor's and master's degree in Fine Arts from Kookmin University, she painted unusual, dreamlike, and dramatic situations, but in her mid-30s, she began to paint natural objects and everyday landscapes. Her paintings reveal the fragile psychology and feelings of contemporary people, which are concealed beneath the solid shell of civilization. The artist portrays difficult-to-express psychological levels through a variety of painting mediums, including sketching, watercolor, and oil painting. It defines creation as the discovery of remarkable moments in the repetition of her previous everyday existence and the transformation of the meaning into a material known as painting and reconstructs a daily life from her own unique perspective.

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.

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. 

Jiyoung Yoo studies artificial orders and systems that are found in everyday life, and the history of objects that belong in such system. As a subject of painting, the artist observes and collages various forms of objects such as eggs, water cups, manuscripts, calendars, and clocks that are often categorized as one unit or assembled as a bundle. This unique practice highlights the idea of relations in paintings. Visually intersecting and yet limiting the conditions of systems that each object has, the variations that the artist depicts present a new perspective in her own language.

Jo Jae, an artist based in Seoul, is fundamentally interested in the concept of "space" — a place created, inhabited, and sometimes demolished by humans. A space itself symbolizes the people who occupy it, and its inhabitants inevitably leave traces of themselves. These traces can become important clues, sparking intense curiosity. Driven by this curiosity, Jo Jae crafts stories with images based on these clues. Her work spans photography, installations, and even design, but she sees no difference between these acts. Photography, as the flat print of tangible objects, conveys an ethereal subject matter, allowing the relationship between images and stories to leave room for imagination. This is why photographic media currently remains her most preferred medium.
Jo Jae’s work begins in the virtual realm. Since 2020, she has been translating the intersection between digital images and their original counterparts into a sculptural form. By visualizing the gap between digital images and the unprocessed originals, she aims to establish a new sense that bridges the virtual and the real worlds.

Yihyun Kim draws about the futility of "wish." In her paintings, the theme is revealed in intense colors, an image of the deity with the motif of "Tanghwa," and the back of the wreath. The blindness of someone's act of continuing prayers even though they guess that their prayers will not be fulfilled indicates the back of what we desperately wanted, what we wanted to avoid the most. She earned a bachelor's degree from Hongik University's Department of Metal Art & Design and Oriental Painting. Currently, she is attending the Graduate School of Oriental Painting at Hongik University.

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. 

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.

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.

Chris Ro (b.1976) is a graphic designer and artist. His work can be characterized for their kinetic, spatial, poetic and atmospheric properties. Born in Seattle, Chris went on to study architecture at the University of California at Berkeley. After working as both architect and designer he went on to study graphic design at the Rhode Island School of Design. This mixed background continues to influence his explorations that fluctuate between both two and three dimensions. He is often at home when exploring concepts in motion and space and their relationship to the more static surfaces of graphic design. He recently finished research exploring concepts in Korean space at Seoul National University.
His work has been exhibited all over the world and is part of the permanent collections of the Victoria and Albert Museum, Musée des Arts Décoratifs, Die Neue Sammlung, the Seoul National University Museum of Art, Hongik University Museum of Art, Platform-L Contemporary Art Center and the National Hangeul Museum.

For Moonhee Cho, the series of photographic works are both a process and a result of pusing ‘resemble’. ‘Resemble’ creates a gap skimmed from reality, making one revisit the place glimpsed at first sight. The landscape that was once passed by reveals a dramatic presence in a form that was never reached, even in places that were numb, different from the afterimage left in the mind. Following the image in the landscape, she visualizes the conflict stemming from ‘resemblance’.

Ed. 1/3, 3AP

Toshimitsu Imai was an influential 20th-century Japanese painter. Best known for his monumental abstract works, Imai composed his canvases with a combination of thick impasto marks and fluid, inky lines to build chaotic, “allover” compositions.

Joonun Kim expresses the inherent anxieties in everyday landscapes through painting. Assuming that personal lives are a result influenced by social structures, she documents the strangeness derived from minor aspects. Instead of showcasing anxiety and trauma directly in her works, she subtly captures the landscapes left behind afterward. In this surreal space-time, questioning whether it's reality or a dream, she maintains a sharp perspective by observing her surroundings. To avoid being swept into apathy or making rash judgments about situations, she disciplines himself to maintain a moderate level of objectivity. Her major exhibitions include the solo exhibition "Time Dilation" (2022, Sahngup Gallery), and group exhibitions "And Live" (2021, Art Space Mullae), and "Mind Sculpture" (2021, BGA).

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