Through photoscollected via the web, Kim's work embodies the imagined nature and conveys it as though it had been experienced in real life. While traditionalartworks convey nature seen through sight as seen while painting, Kim captures the essence of the asynchronous image seized throughphotography. The "On the waves." series expresses the location and moment where fiction and reality collide by overlapping the seasons andweather experienced on an anonymous beach and in real life. With shards of senses colliding and combining, these pieces try to aggregateeveryday life with remnants of incidental sensations. The imagined sense of movement is artistically articulated, recreated with a thin sense ofspace, and placed on a canvas based on digital photographs. It takes in the image from the monitor and applies a tiny bit of creativity to create awhole new visual world. The moment's image is caught and the invisible components are conveyed visually through the waves that carry theseason's colors. By contemplating and creating a virtual environment, Kim continues her search to find a distinct depth amid the priceless andsuperficial details of precise pieces. By doing this, she emphasizes leaving sensory imprints and communicating beyond the confines of realityand fantasy.

"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

The color of waves : Mint

Han Jaehyuk (b. 1993) explores a new painterly language by dismantling and reconstructing hanji and hwaseonji, departing from their conventional functions and inherited meanings. For him, paper is no longer a surface for recording, but a sculptural entity poised between being and non-being. This return to material begins from a state of “emptiness,” where new possibilities emerge through the questioning and suspension of established standards and experience.

tipping point-形-20

Gijeong Goo explores the relationship between humans, machines, and nature by transforming real landscapes into digital imagery through 3D rendering, translating them into video and installation works within physical spaces. In this process, digitally reconstructed landscapes converge with virtual elements, giving rise to an ambiguous sensibility that hovers on the boundary between the real and the virtual.

CHOI&CHOI Gallery was founded in Cologne, Germany, in 2012. Since then, the gallery has built an extensive network of artists and institutions across Korea, London, Paris, Berlin, and Geneva — driven by a commitment to fostering cultural exchange between these regions. A Seoul space opened in Gangnam in 2016, and has since relocated to Yeonhui-dong, a neighbourhood where independent galleries and experimental spaces are forming a community of their own.
CHOI&CHOI has consistently championed Korean contemporary art through ongoing relationships with Korean artists, introducing both local and diasporic Korean contemporary art to international audiences via exhibitions and art fairs.
The gallery's Western roster focuses on emerging talents whose work has gained recognition in their local scenes. CHOI&CHOI is committed to nurturing these artists over time — and to building lasting relationships with both new and established collectors.

CHOI&CHOI Gallery

The Transparent Visual Apparatus no.5

Matthew Stone develops a distinctive painterly language through 3D imaging and digital processes, constructing the human figure through dynamic, multicoloured brushstrokes. He begins by hand-painting on glass, photographing these gestures, and digitally collaging them with forms created in 3D software — the resulting compositions are then printed onto canvas. More recently, Stone has introduced oil on linen into his practice, merging printed imagery with hand-painted interventions to further blur the boundaries between methods, redefining painting as a genre while engaging with contemporary questions surrounding human existence.

Human Behaviour

<cresc.>, the artwork suggests variations in loudness and softness by enlarging the same image at different scales and arranging them in sequence.
The crescendo, which propels sound as it gradually grows louder, becomes a dynamic within the composition, reflecting the way rhythm accumulates and moves across the surface.

Hippie Hannam is a gallery that moves beyond prevailing trends, working alongside artists who engage with the world through their own distinct sensibilities to create new and meaningful experiences. By revisiting familiar scenes and approaching them from alternative perspectives, the gallery explores the diverse possibilities of contemporary art.

Hippie Hannam seeks to foster an environment where artists and audiences meet organically, and where art becomes part of everyday perception. Through these encounters, the gallery aims to offer an open platform in which contemporary art can be experienced with ease, allowing each visitor to engage and reflect at their own pace.

Hippie Hannam Gallery

cresc.

With You (feat. On the Way to the Bean Field #2602), 48 x 30cm

Gallery Belle Vie takes its name from the French phrase La Belle Vie, meaning “the beautiful life.”

Beyond its literal translation, Belle Vie embodies a way of living grounded in warmth, generosity, and a sense of grace in everyday moments.

Established in Seoul in January 2020, Gallery Belle Vie held its first exhibition in September 2021, and has since presented a series of exhibitions that naturally weave contemporary art into life and space. By curating a dynamic range of exhibitions each year, the gallery seeks to engage with the current moment of contemporary art while discovering and highlighting new perspectives from artists both in Korea and abroad.

We believe that when art dissolves the boundary between daily life and personal space, life expands beyond routine and opens into an intimate realm of perception. Gallery Belle Vie aims to be a companion in that journey—guiding viewers to discover their own aesthetic language and to broaden the horizons of their inner world.

Gallery Belle Vie

With You (feat. On the Way to the Bean Field #2602)

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.

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

Flower

Artist Statement (Excerpt from 2023-24 Artist Notebook)

As an artist in a modern society accustomed to digital screens and colors, I have been deeply immersed in exploring how to express landscapes through digital and painting mediums.

In <Landscape Elements>, each natural object can be seen as an extreme expression of atmospheric colors, light materials like clouds, dense foliage, or the dawn. My perspective is to show a two-dimensional expression and space, which is intuitively reflected when I first sketch out my composition. In the refining process, I focus on creating natural objects and landscapes that are as simple and two-dimensional as possible, while still evoking a sense of three-dimensional form.

Landscape Elements

Space776 exhibits early to mid-career artists who work in a variety of mediums ranging from live multimedia performance art to traditional oil painting. The gallery accommodates artists from around the globe, taking their works to local and international art fairs such as Volta New York, Volta Basel, Art Miami, Palm Beach Modern + Contemporary, and Art Busan. 
Space776 was founded in Bushwick, Brooklyn in 2013. In 2020, the gallery relocated to its current residence at 37-39 Clinton Street on the Lower East Side of Manhattan. Space776 also opened a location in Seoul, South Korea in 2020 in accordance with the gallery’s mission to promote the international exchange between local New York artists and the Korean artistic sphere. 

Space776

Pure

Scenes

Suzy Yoo explores the connection between people and nature through diary-like works that gently reflect everyday experiences. Blending memory and sensation, she captures shifting forms and asks fundamental questions like: How should we live? and Where are we headed?

Crow and Star

Behind the curtain: Venus 001

Lee Mina is an artist who closely observes the instincts and habits of animals and plants, granting narrative to their inherent characteristics and shaping the wonder of living beings through a visual language. The subjects in her paintings, shaped by attentive observation, acquire distinct personalities and temperaments, taking their place as if they were individual presences. Through subtle expressions, gestures, and scenes of relationship that she carefully captures, she composes painterly structures that evoke sensations beyond the visible world.


Golden Hands Friends (GHF) is an art agency and gallery founded in 2018 by art dealer couple WooSung Lim and Sunyoung Kim, who come from backgrounds in advertising and architecture. 

 As an art agency, GHF curates exhibitions and bridges artists’ intellectual property (IP) with businesses, events, social initiatives, and publishing projects. We also provide collection consulting for individuals and companies, artwork rentals, and art-based archiving services.

 At GHF Gallery in Gye-dong, we support artists through curated exhibitions and aim to foster a culture where art can be appreciated and collected by everyone. 
 Our mission is to make artwork more accessible and to contribute to a vibrant art market.

We believe that through art, everyone can become good friends. 
In the spirit of our name, Golden Hands—meaning “hands that save not only myself, but also those around me”—we hope the work we do lives up to what we stand for.

Golden hands friends

Moon Gazing

The Infill series covers structures composed of various colors with an opaque white membrane, creating surfaces through which light subtly permeates from within. The artist explores not only the front of the canvas but also its sides and back, as well as the relationship between fabric and frame, reconstructing the very structure of painting itself. The white membrane replaces the traditional canvas fabric, while internal objects are positioned between the frame and the surface, forming a new pictorial space.

Across the transformed canvas, planes, lines, and masses overlap and intersect, generating a three-dimensional flow within the image and evoking forms that appear or disappear depending on the viewer’s perspective. Real light and shadow operate together, expanding painting beyond a fixed plane into an experience unfolding in space.

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.

INFILL

I’m Pretty Good at Breathing In and Out

RCB Experimental Art Lab, an innovative project by River City Bangkok, is more than just a gallery—it’s a dynamic space where artistic boundaries are pushed, and new horizons are explored. We encourage a variety of artists, both new and experienced, to "Explore" unexplored creativity, "Experiment" with ideas and stories from various art media, and "Exchange" conversations between Thai and international artists to spark new creativity. We also intend to provide a platform where artists, viewers, and collectors may share ideas and support. The talented artists ; Art Jeeno, Chonnapas Yokyai, FAHFAHS, Munins, Phichai Keawvichit, Tuagomstudio, Tum Ulit, and WAL, have all shown their work with us.

RCB Experimental Art Lab

“Translation does not repeat the original; it expands its possibilities.” by Walter Benjamin
This statement by Walter Benjamin describes precisely how Hwang Hyeyoung’s Nana’s Wonderland operates. Borrowing the structural framework of Alice in Wonderland, the artist brings it into her own pictorial universe, opening new imaginative possibilities.
At the center of the exhibition, the fairytale book and the paintings mirror one another, forming a “living story” that the viewer enters rather than reads page by page. Nana’s Wonderland is not a simple variation on a narrative; it is a process in which text and image build a world together. Nana’s journey becomes the first scene through which the artist reveals how her artistic world expands and reconstructs itself.

| Elevate Artists to the Center of Culture |
Since its opening in 2019, Gallery Collast has consistently presented a diverse and unique range of solo and curated exhibitions. The name "Collast" is a meaningful fusion of "Collaboration" and "Artist," reflecting our commitment to creating creative works that spark a new wave in contemporary art through deep partnership with artists.

Located in the vibrant and youthful district of Seongsu-dong, Seoul, we aim to introduce contemporary art to a broader public. Our mission is to facilitate multifaceted communication between artists and collectors, contributing to a virtuous cycle within the art market. Moving beyond the traditional "white cube" gallery format, we pursue a new gallery identity that rawly captures the artist's passion and energy.

As an open space for everyone, we prioritize interactive exhibitions over one-way displays and actively support bold, adventurous artistic endeavors. We respect the diverse currents of contemporary art and believe that natural dialogue and an intimate atmosphere between artists and visitors can dismantle the barriers to the art world.

Gallery Collast seeks new dimensions in contemporary art, moving forward with the conviction that freedom is the ultimate driver of innovation.

COLLAST

ALICES

Since the debut of her acclaimed Sealed Smile series in 2008, Kim Jihee has garnered widespread attention for her unique approach—blending traditional East Asian painting techniques with contemporary portraiture. Her works, known for their vibrant aesthetics and emotionally resonant narratives, have earned both critical acclaim and broad public appeal. She has participated in over 400 exhibitions at major galleries and museums across Seoul, New York, Los Angeles, Washington D.C., Miami, London, Cologne, Jakarta, Tokyo, Osaka, Beijing, Shanghai, Shenyang, Hong Kong, Taipei, Singapore, and Dubai.

Kim Jihee has held prominent solo exhibitions at institutions such as Gana Art Sounds and Gana Forum Space in Seoul. In 2024, she was invited for a blockbuster solo exhibition at China’s K11 Art Museum—led by Adrian Cheng, one of the world’s top 100 super collectors—and became the first Korean artist to collaborate with Discovery Park in Hong Kong. Her solo exhibition at Breeze Nanshan’s 333 Gallery in Taiwan further solidified her strong presence in the Chinese-speaking art world.

Her collectors include a notable list of global elites: Sabrina Ho (daughter of the late Macau casino magnate Stanley Ho), H.H. Sheikh Saud bin Sultan Al Qasimi of Sharjah, UAE, and other high-profile international art patrons. She is frequently referred to as “the artist loved by the super-rich.”
Beyond the gallery context, Kim Jihee actively engages in cultural collaborations. She participated in collaboration with Royal Salute 55 Years Old as well as Seoul My Soul in Dubai, a drawing performance exhibition co-hosted by the Seoul Metropolitan Government, which attracted over 4,000 viewers. Her past brand collaborations include SK Telecom, LG Eletronics Objet Refrigerator, Stonehenge, Girls’ Generation, and Chinese cosmetics brand LIMI. Her work Sealed Smile was selected as the cover image for the 2025 high school art textbook in South Korea.

As a leading figure in contemporary Korean art, Kim Jihee continues to expand her global influence, establishing herself as a distinctive voice in cities around the world.

From Intimate gallery shows to large-scale brand installations. J2 curates projects that reflect the living pulse of culture. Each collaboration is a dialogue-between artists, audiences, and traditions-brought to life through intentional design and shared vision. At our core, J2 Brand exists to amplify artists on the global stage and introduce the world to the depth, nuance, and vitality of Korean cultural expression -and vice versa. We serve as a cultural conduit, curating partnerships, exhibitions, and brand experiences that celebrate identity in motion.

J2 Brand LLC

Sealed smile

“Untitled” is a flat painting that the artist is constantly interested in and working on. It is reconstructed by enlarging a portion of a civil engineering site or applying tools from the site. The artist is fascinated in the land that represents diverse human characteristics and maintains stability through various substances, such as time, rain, and snow. The floating civil engineering construction site is a place where the artist can locate personal experiences and narratives that engage with his father’s memory beyond his point as an objective observer of the structure’s form. The work illustrates the process of visualizing the artist’s self-awareness, while simultaneously unraveling records of individual identity, prior generations, and human history.

Untitled

Jaehyuk 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.

Gijeong Goo’s practice begins by interrogating the conditions through which images are produced and the hidden structures that sustain them. Transforming real landscapes into digitally rendered imagery and reconfiguring them as installations in physical space, he explores the intersections of humans, machines, and nature. Oscillating between sensation and perception, reality and virtuality, structure and interpretation, his work ultimately raises critical questions about how images are constructed and perceived within today’s multi-layered visual environment.

Matthew Stone has developed a distinctive painterly language through the use of 3D imaging and digital processes, constructing the human figure through dynamic, multicoloured brushstrokes. He begins by hand-painting on glass, photographing these gestures, and digitally collaging them with forms created in 3D software. The resulting compositions are printed onto canvas, combining the material qualities of traditional painting with contemporary technologies. More recently, Stone has introduced oil on linen into his practice, merging printed imagery with hand-painted interventions to
further blur the boundaries between methods. This ongoing exploration reflects his attempt to redefine painting as a genre, while engaging with contemporary questions surrounding the nature of human existence.

Seo Yewon reconstructs invisible sound into a visual order. Arranging objects on hanji as if notating them in a score, the artist builds an auditory structure within painting. Sonic images—such as musical instruments, explosions, and elements of nature—take form as ordered visual elements through precise depiction and restrained composition, capturing and fixing the moment when intangible sound becomes visible within the image.

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 Jung creates paintings and new media art that alter the invisible properties of changing water, wind and other elements in nature. She completed master's degree in the Interactive Telecommunications Program (ITP) MPS at New York University's Tisch School of the Arts. The artist takes photos of nature or collects such images from the web and stores of VR and 3D space software, then renders them into unrealistic sceneries in VR or video works. She then reassembles the flattened objects, or the visible and penetrable scenes seen in the virtual space on a canvas as a painting. Through the process of transforming and capturing a space that actually exists into an unfamiliar image, she provides an opportunity to consider the logic of subverted nature.

It is composed mainly of new paintings and object-based works.

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. 2/3, 3AP

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.

Wonmi Seo expresses anxiety and trauma based on autobiographical experiences, societal experiences, and psychological landscapes through the language of painting. She graduated from Sungkyunkwan University and currently resides in Seoul, where she engages with audiences through various exhibitions of her work. The artist combines and deconstructs common materials and symbols, concealing and reinterpreting the ordinary. With this process, her works represent the unrestrained desires of humans today, a collection of characters with shattered and chaotic lifestyles, and the trauma linked with death in Korean history. She believes that viewers of her works will experience the separation of subject and object of the self and will be able to focus on the works and project themselves into them.

Lee Mina is an artist who closely observes the instincts and habits of animals and plants, granting narrative to their inherent characteristics and shaping the wonder of living beings through a visual language. The subjects in her paintings, shaped by attentive observation, acquire distinct personalities and temperaments, taking their place as if they were individual presences. Through subtle expressions, gestures, and scenes of relationship that she carefully captures, she composes painterly structures that evoke sensations beyond the visible world.

Working primarily in painting while also engaging sculpture, installation, and picture books, her practice moves fluidly across media. Throughout her work, the pure realm of animals and plants intersects with an unknown world that humanity has yet to reach. Her works invite viewers to see familiar beings anew and to imagine the mystery and essential innocence of life.

In the field of picture books, Lee Mina has been recognized by first-generation Korean picture book artist Jaesoo Ryu and Japanese artist Seizo Tashima. She has published five picture books. Her picture books convey layered reflection and symbolism within concise narratives, achieving both visual density and emotional resonance.

Hong Jung-Ouk is a Seoul-based artist and Associate Professor of Painting at Hong-ik University. Working at the intersection of painting, sculpture, and installation, his practice persistently interrogates the ontological conditions of the painted surface—questioning why a canvas must always be rectangular, and why it must hang on a wall.

Rather than abandoning painting for three-dimensional work, Hong expands its logic outward: frames become polygons and circles, cloth is removed to expose open structures, and glass, acrylic, wire, and light are combined to create works that occupy the threshold between painting and site-specific installation. His ongoing series—INFILL, cacophony, ENTITY, and ulterior—reflect what he calls "evolution": each work finding its most optimized form through iterative material and spatial experiment.

Hong holds a Ph.D. in Technology Art from Chung-Ang University, an M.F.A. from the Slade School of Fine Art, UCL (London), and degrees from Hong-ik University, Seoul.

Born in 1997, Warisa (Shinnawat Sa-nguanjuk) graduated from the Faculty of Architecture and Design, majoring in Communication Design, at Rajamangala University of Technology Rattanakosin. He began creating acrylic paintings under the name ‘Warisa’ in 2021.

Warisa first came to prominence in the contemporary art scene after participating in Bangkok Illustration Fair 2024, which led to his invitation to showcase his work in the group exhibition “First Light: The Joy of Discovery in Contemporary Asia” (2024), presented by All About Art Gallery and held at River City Bangkok. Both showcases received widespread acclaim, marking Warisa as one of the new generation artists to watch—known for his distinctive visual language and introspective sensibility. 

His artistic inspiration stems from the idea of the garden in its many forms—a space where emotion, memory, and imagination intertwine. Influenced by cinematic storytelling, Warisa’s paintings transform scenes of nature into poetic narratives filled with atmosphere and quiet contemplation. His works do not merely depict the beauty of nature, but evoke a world of feeling—one that exists delicately between reality and dream. 



Hwang Hyeyoung develops her practice around the central figure of the “girl.” In her work, the girl is a symbolic being who transcends specific gender and age.
Through this figure, Hwang reflects her own fragility, immaturity, and honesty, unfolding stories that resonate with her personal journey of growth. She expresses deep empathy for those experiencing the turbulent waves of adolescence, portraying the moments of growth encountered over time by both the girl in her paintings and the artist herself in reality. The forest in which the girl resides symbolizes the trials of adolescence; the expression of diverse emotions, the courage to confront threats and anxieties, and the adventurous spirit to explore new challenges and unknown worlds are all depicted as integral parts of the process of growing up.

Sanggyun Lee is an artist who maintains a continuous interest in civil engineering structures through field research, converting three-dimensional architecture and spaces into two-dimensional paintings. Memories of his father, who worked in civil engineering during his childhood, have greatly influenced his work, serving as a crucial link in his art.

The images of structures that appear in his work are abstracted through a process of reduction to a consistent compositional framework. He believes that, among the spaces humans inhabit, the land particularly represents various aspects of humanity. Capturing the longstanding human desire for urbanization and the pursuit of subjectivity and spatiality, he simultaneously embodies the role of an observer, depicting the immobility of civil engineering construction sites. He applies construction tools such as trowels, plastering knives, and ink lines to his paintings, creating them with a constructive attitude.

In 2022, he was selected as an artist-in-residence at the Paris Lee Ungno Residence, where he worked to document his artistic identity and discover the human narratives of previous generations. During this period, he participated in various international exhibitions, expanded his artistic perspective through interactions with artists worldwide, and drew inspiration from the unique culture and historical background of Paris, adding depth to his work. This experience significantly contributed to his artistic growth, which is clearly evident in his subsequent works. Currently, he continues to create new works based on these experiences, pursuing his artistic exploration.

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