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

Hanna Lee explores themes of life, death, and the subtle tension between them through her Diving Series. The act of diving evokes the image of a leap, while the figure rising from the water appears to ascend toward life, capturing the boundary between falling and rising—between life and death. Through this juxtaposition, Lee invites contemplation on existence and the cyclical nature of these contrasts.

OBJECTHOOD

Edge

Drawing from his distinctive background as a tattooist, TAPPEI ventures into a new realm of expression through painting, expanding his practice onto large-scale canvases for the first time. Liberated from the physical limitations of skin, his work unfolds with intuitive gestures and a candid exploration of the inner self. The recurring ‘angel’ motif is not merely decorative, but serves as a symbolic guide throughout his creative universe—prominently featured once again in this piece. His approach, rooted in choosing authenticity over outside expectations, imbues the canvas with both playful energy and quiet determination.

Liberation

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.

THEO

Forced Interaction

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

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

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Her work draws attention to the presence and beauty of light in our daily lives that we often encounter, but most of the time go unnoticed, such as the moment when a beam of light suddenly enters a room and illuminates the familiar, or when a small, insignificant flower we encounter on a walk is illuminated and reminds us of nature’s simple beauty. In her work, light is more than just a physical phenomenon, it is a medium that blurs the boundaries between existence and non-existence, the visible and the invisible, and her approach pushes the viewer beyond the limits of perception, inviting them to perceive a wider world.

Wave of Sky

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.

Bawi Wi 9

Yoo Suzy work explores the connections between nature and people, between the self and others. She paints ordinary experiences and memories with a personal touch. Her paintings of landscapes and memories resemble real scenes while blending personal impressions and sensations, with the size, color, and form of subjects freely interchanging and overlapping each other fluidly. The "continuity" in her paintings encompasses all shapes of connection that are naturally assigned at birth and continue to link somewhere throughout life. Her works, written as daily records like a diary, are expressed through various materials and techniques, expanding personal stories into universal narratives that connect everyone.

GALLERY IN

Walking with 2

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.

Fleeting Light, Endless Hope

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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


Today's Collection

Artue - Korea

The four leaves left by the shadow

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

Seasons (Series of 4)

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.

Cahiers d'Art

Untitled (II)

SoYeong Kim applies countless thin layers of acrylic paint onto traditional Korean paper (jangji), building her images through a delicate and patient process. The brightest areas in her compositions are not painted at all—they are the untouched surface of the paper itself, radiating with a luminous glow as if lit from within. This technique reflects a gaze shaped by deep affection and prolonged observation, inviting viewers to share in that intimate encounter.

In this work, fleshy fruits—symbols of living flesh—are sealed tightly within a glass jar. In Kim’s practice, "flesh" often stands in for life or the human presence. Through this imagery, the artist offers a metaphor for the society she perceives: enclosed, contained, and densely filled with life.

Flesh 2

Duri Baek expresses the will to live through the light that illuminates the plants and the shadows behind them. The light that shines on the plants simultaneously creates the darkness of the shadows. The light and shadows that fall on the plants show their fierce determination and efforts to survive.The works in <Transition> are colored yellow for light and green for shadow. In the past, Baek's paintings have been characterized by the light and shadow of trees, poles, roots, and plants on rocks in the "빛의 자리","마중" , and "바위 위", but this time, the land, which is the basis of recovery, occupies a large area of the painting. <Transition> shows a green shadow falling on a neglected yellow ground, and tells the story of the beginning of life.


Jari36

It focuses on the anxiety and contradictions within the complex situations of life, as well as the subtle movements within them. It seeks images that capture the emotions and presence of beings who live through the world, colliding with it on a visceral level. It pursues images that can embody the will and complex emotions that arise at the boundaries where human strength confronts the world, encapsulating the power of existence within them. It visualizes the condensed emotions and forces within moments where existence interacts with matter in a chain of responses.

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.

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.

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

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.

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

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


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.

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

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

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

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

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