Kim Ji-yoon (b. 1995) documents the landscapes she encounters through video and images, and reconstructs them into painting by focusing on the passage of time, the energy permeating the scene, and the fleeting moments of change and flow. Scenes easily captured with digital devices and smartphones are re-experienced through the screen, carrying layers of time and traces of light and temperature that were not perceived in the moment. The artist captures these sensations and builds time onto the canvas through the repeated gestures of brushstrokes and the act of rubbing the painted surface, using oil paint as her primary medium. The accumulated colors and textures on the canvas become another landscape of time—formed through the warmth at her fingertips and the resistance of the paint as she works across the surface.

"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

Silent Autumn

Seo Jaejung’s work begins with translating perception and formative sensibility shaped by spatial experience into visual language, where architectural elements such as columns, stairs, and arches unfold as variations of space emerging from a single line. Between deconstruction and recomposition lies a tension of psychological forms suspended between completeness and incompleteness- a multilayered spatial sensibility where reality and unreality, reason and emotion intersect.

Since its establishment in 1994, Gallery Simon has been committed to presenting exhibitions that reflect the evolving currents of contemporary art. The gallery hosts solo exhibitions by its represented artists—such as Sangkyoon Noh, Hyungkyung Bae, Airan Kang, Sunmyoung Choi, Sowon Kwon, Joohyun Kim, Shinil Kim, Jayoung Ku, Changwon Lee, Taii Kim and Jieun Kim—alongside group exhibitions including "Arrival", which introduces emerging artists active in both local and international scenes, "Digital Transitions", showcasing leading global media artworks, and curated projects led by invited curators.

Through its exhibitions, Gallery Simon aims to illuminate each artist’s creative vision, artistic integrity, and reflections of the contemporary moment while exploring new aesthetic approaches within the field of contemporary art. The gallery also works to elevate the presence of Korean contemporary art by maintaining active collaborations with major museums and galleries worldwide and by supporting artists with strong potential and distinct voices.

Gallery Simon

Uncertain Organic Space 22

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.

Abyssal Emanation

Nature Haan continues to encapsulate moments and emotions of everyday life in his work. 'The night of fish market' is part of a series documenting the artist's daily experiences, capturing landscapes we often overlook. He observes these everyday scenes with a loving gaze, sometimes discovering moments that shine extraordinarily. Through his work, capturing incredibly ordinary moments on canvas from his unique perspective, Nature Haan records memories, shares the little nuances of daily life with viewers, and reconstructs those moments.

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

The night of fish market

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

Artist Park Younghwan continues a painting practice that merges imagination with architectural composition, rooted in the tradition of East Asian landscape painting. Through variations of ink, hanji (traditional Korean paper), blue ink, and dense black ink, he layers subtle tonalities onto a monochromatic surface, juxtaposing nature with geometric forms, and figures with symbolic elements within a single pictorial space.
Within these landscapes appear perfect black spheres, modernist Western buildings, entangled branches, and figures drawn from memory — together constructing an imagined order that coexists with the artist’s personal sense of temporality.
The sphere, Park’s fundamental unit, serves as the most symbolic element within his compositions. Each varies in size and depth of ink, tracing the passage of time across the canvas. The spheres embody both the artist’s presence within multiple moments and spaces of his life’s journey, and the visible traces of his continual pursuit toward an ideal form of 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

Contemplation

Peter Ravn explores the existential conditions of being human in contemporary society. Through the loss of identity, control, and certainty, he exposes the latent tension that defines modern existence. His figures appear simultaneously as agents and as victims, inhabiting a liminal state between action and surrender. Rather than offering a linear narrative, Ravn constructs staged scenes and cinematic mise-en-scènes that invite the viewer’s interpretation. His visual language, informed by his background in graphic design and film, evokes theatrical moments of conflict and reflection—an aesthetic inquiry into the psychological and social dimensions of anxiety.

Architecture is a practice of space and design—and also of sociology, history, philosophy, literature, and more; it is art in action and interaction, use and relation. Directed by an architect, “The Untitled Void” is a space intended for thought, inviting the formulation of new and living questions rather than the simple display of packaged conclusions.

The Untitled Void values collaborative process as a part of our curatorial approach. We are committed to showcasing artists and projects that trouble binaries and transcend the ego, boldly engaging the issues of our shared past, present, and future. We place no limits on genre or medium; we love to be surprised and challenged.

The Untitled Void

Group Dynamics Team Formation No. 1

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.

Portrait of Mountains and Clouds2

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)

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. 

Equilibrium

For Lee, nature is not a fixed, external truth. It is something that accrues meaning through time, something that becomes natural through familiarity. A dolmen, once a human construction, becomes part of the landscape over millennia. A path in the forest, shaped by repeated footsteps, comes to feel inevitable and organic. Even the cars we drive, artificial in essence, now blur seamlessly into our everyday scenery. Nature, in this view, is not an opposition to artifice but a fluid, perceptual category, one that is constantly being negotiated. 

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

D-Stone 10

Jaehyuck Han creates new forms of painting by transforming traditional Eastern materials like Hanji and Hwasunji into his unique visual language. His work deconstructs and reconfigures familiar elements, generating unfamiliar images that provoke deep reflection. Through this process of transformation, Han invites dialogue with the inner self, opening pathways to new possibilities and creative potential.

Tipping Point-密-11

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.

sunset

Chris Measor, born in Ottawa, Canada in 1984, graduated from the Musashino Art University in Japan. He has participated in numerous group exhibitions both domestically and internationally, including two solo exhibitions in Thailand and South Korea. Based in Busan, he continues his artistic endeavors and is an artist whose international career is highly anticipated.

Chris Measor expresses various themes in his work, including European mythology, satire, philosophy, history, politics, and film, by anthropomorphizing animal characters. The animal figures in his works, such as cats, dogs, and rabbits, serve as engaging mediums that attract the audience's interest and guide them through the narrative. By using animals as motifs, the artist avoids potential biases that might arise from depicting human characters, where aspects like race, class, and age could distort the essential meaning he intends to convey. He aims for viewers to immerse themselves in the storytelling without preconceived notions. The artist encourages a reflection on the everyday characters that might be overlooked and hopes that each character in his works represents the protagonists of life, inviting the audience to explore their diverse stories. He creates a layered base on wooden panels using gesso and sanding techniques, applying acrylic gouache and acrylic ink to achieve depth and detail in his artwork.

Easelly opened in 2024 to discover young and promising new artists and
present original artworks in various genres.
We aim to provide new artists with opportunities to participate in domestic
and international exhibitions and art fairs, and to create a space with a
novel and young sensibility by creating artworks that can be closer to a new
generation of collectors.
Through unique special exhibitions of artworks by contemporary artists
both domestic and international, we will strive to present special exhibitions
that allow people to easily access and enjoy art, and we plan to present a
variety of exhibition programs to make it a sensational space appealing to a
younger generation.

Easelly

The Sack of Hundeberg

Upon the stillness of a snowy winter, artist Younghwan Park summons the figures of the past — the “I” and “we” — in miniature form, no larger than a fingernail. Memories seeped in cobalt blue onto the pure surface of white porcelain lie quietly sealed beneath its glaze. Within the frozen landscape, two people who have sustained their lives through the cold share faint traces of warmth — an unspoken monologue of hearts that never reached one another. The reclaimed wood frame approaches like another stratum of time. Wood that bears the scars of age embraces the porcelain, allowing the two materials to meet within a single plane.
The work conveys a winter that is not cold — a winter imbued with the warmth preserved by memory.

warmth

Ridge #45

Nicolas Krupp Contemporary Art was founded in autumn 2000 and is based in Basel, Switzerland on the edge of the Messeplatz towards Badischer Bahnhof, within very short walking distance of the main entrance of the Art Basel.
The program focuses on international contemporary artists. The gallery shows works in a variety of media including painting, drawing, sculpture, objects, photography, video art, performance and works in new media (computer).
Thanks to the large room height and the 200 m² area, the gallery space provides an ideal surrounding for the presentation of installations and conceptual art works. Besides it’s exhibitions the gallery is also producing multiples with emerging artists.
The gallery shows about 6 solo and group exhibitions annually and participates in 1 – 2 international art fairs.

Nicolas Krupp

Untitled

 The earth is round, but it's funny to see a flat projection and comprehend a round earth. Projections come in many shapes to create a more complete representation of a sphere. Although projections are not intended to be aesthetically pleasing, they are as aesthetic as paintings in that they stimulate the imagination far more than they do the eye– leading to a certain romanticization of the imagination. If the earth were flat and you walked in a straight line, no matter how far you traversed you would never meet someone as the ends of the earth would not meet. However, seeing something flat and imagining it as a sphere gives us a sense of fulfillment, as if satisfying a deficiency, and gives us the visual richness of a flat surface becoming three-dimensional. However, the sense of fulfillment will vary depending on the individual. And the nature of the figure is flat, hence the title. Because no matter how round I draw it, it's only flat...

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

Flow of the Rainbow Bands

Seo Jaejung’s work explores the translation of perception and spatial sensibility into visual form. Drawing from architectural environments—described as “a space within a space”—she uses elements such as columns, stairs, and arches as mediators that generate layered visual associations. Her compositions often begin with a single line and unfold through the deconstruction and recomposition of architectural structures, revealing psychological forms that exist between completeness and incompleteness. These processes create an “architectural psychological space” where reality and unreality, reason and emotion, intention and chance coexist. Through such multilayered structures, Seo seeks to develop a painterly language that blurs the boundary between two- and three-dimensional space, offering an expanded experience that opens onto another realm.

Instead of waiting for a moment of inspiration, Nature Haan has continued to work, focusing on the landscape and emotions surrounding him. Since majoring in Western Painting at Seoul National University, he has shown a variety of artworks that capture the artist's daily life in their respective fields in different ways. Beginning in 2016, “Receipt Work” is based on receipts, a common material of daily life, and the objective text is gradually erased, leaving just the image of the moment, which is presented to the audience as a daily record. The artist aspires to become an unostentatious artist in the future, who communicates with the audience through works that show his own self.

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.

Park Younghwan has sustained a painting practice grounded in the tradition of East Asian landscape painting, combining imagination with architectural composition. Through variations of ink on hanji including cheongmeok (bluish ink) and dameok (dense, fully-loaded ink) he lends subtle chromatic strata to black-and-white surfaces, juxtaposing nature and geometric form, figures and symbols, within a single scene. Perfect black spheres, Western buildings in modern styles, tangled stands of trees, and figures recalled from memory all find their place on the picture plane, where a fictive order and the artist’s personal temporality are realised simultaneously within the landscape.
The sphere (gu), the artist’s basic unit, appears as the most emblematic object in the work, distributed across the surface in differing sizes and gradations of ink as though tracing the arc of elapsed time. It becomes, at once, the artist himself present in the many times and spaces of a life’s journey and the record of a process moving toward the most ideal form of living to which he aspires.

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. 

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. 7/10, 4AP, 3HC

Ed. 6/10, 4AP, 3HC

Equilibrium Mono Black

Taesoo Lee is a Korean sculptor known for creating heavy-looking objects using lightweight materials. His work explores the gap between perception and reality by crafting hyper-realistic sculptures of boulders and steel beams that visually defy gravity. Through optical illusion and material deception, Lee challenges viewers’ assumptions and offers a playful yet thought-provoking commentary on how we perceive the world.

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.

Chris Measor, born in Ottawa, Canada in 1984, graduated from the Musashino Art University in Japan. He has participated in numerous group exhibitions both domestically and internationally, including two solo exhibitions in Thailand and South Korea. Based in Busan, he continues his artistic endeavors and is an artist whose international career is highly anticipated.
Chris Measor expresses various themes in his work, including European mythology, satire, philosophy, history, politics, and film, by anthropomorphizing animal characters. The animal figures in his works, such as cats, dogs, and rabbits, serve as engaging mediums that attract the audience's interest and guide them through the narrative. By using animals as motifs, the artist avoids potential biases that might arise from depicting human characters, where aspects like race, class, and age could distort the essential meaning he intends to convey. He aims for viewers to immerse themselves in the storytelling without preconceived notions. The artist encourages a reflection on the everyday characters that might be overlooked and hopes that each character in his works represents the protagonists of life, inviting the audience to explore their diverse stories. He creates a layered base on wooden panels using gesso and sanding techniques, applying acrylic gouache and acrylic ink to achieve depth and detail in his artwork.

Based on an interest in 'how a wishing heart manifests in daily life,' Seokwoo Chung visualizes the energy emitted when a being strives toward something. He is fascinated by the flow of consciousness formed from cause and effect, and by the culture of wishes permeating the mundane. Drawing inspiration from the fundamental cultures of various religions, his current work extends the realm of the canvas by basing it on painting and incorporating installations in space. He implements a device that amplifies the characteristics of each, by going through various processes with painting works that correspond to the nature of specific spaces or places.

Nam Kim (b.1991) is an American-born Korean artist living and working in Vienna. Nam attended Ewha Womens University in Seoul from 2010 to 2015 and earned her Bachelor degree of fine arts (painting) and art history. Between 2017 and 2023 she studied with Professor Kirsi Mikkola and Alastair Mackinveb in Academy of fine arts Vienna.
Nam Kim mainly use painting for her artistic practice. Nam’s painting is about self-reflection, a process of learning about oneself. She attempts to understand and examine what the essence and the core of humanity are, focusing on capturing psychological fragments that occur in human relationships.

Stripping away the symbols that we indifferently encounter daily, Kim depicts the unreadable shapes on canvas. The artist’s refusal of readily accepted norms of social symbols feels both lighthearted and romanticized in her art.

Rainbow Bands with Marching Signs, Gyul.E Kim Solo Exhibition, ROY GALLERY Apgujeong


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