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

Frozen window

Orb Halos is a work that visualizes our galaxy and the countless galaxies that exist throughout the universe, depicted as if seen from the perspective of an absolute being looking down from above. The piece is designed so that its light patterns and colors can be freely adjusted, encouraging viewers to experience a wide spectrum of light in ever-changing ways.

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

Orb Halos 1

In the moment when light and gaze brush past each other, a droplet briefly holds time. There, the weight of formation reveals itself.
For the artist, these glass droplets are not mere depictions but crystals of time, moments condensed into an instant. Capturing the flowing nature of water within solid glass, the work becomes a living event that forms within the viewer’s gaze.
The artist quietly layers these dimensions beneath the shade of seeped time. Here, we are no longer simply looking at droplets; we find ourselves standing before time itself—silently emerging within transparent stillness.

| 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

Formation - Circle 9

Ik-Soon's neighborhood

January light

Orb Halos 3

Bang-Ju's home_Moonlight

<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.

cresc.

Formation - Circle 10

Formation - Circle 7

The tambourine is placed directly above the flare, forming a composition that emphasizes a sense of stable order rather than visual collision with the surrounding elements. Although the sound it represents is powerful, within the frame it appears as a composed and measured rhythm. The work visualizes ff (fortissimo)—a musical notation indicating a very loud sound—through the image of the tambourine.

ff(tambourine)

Formation - Recollection 4-40

Orb Halos 4

Formation - Recollection 4-39

<8vb to 8va>, a musical notation indicating one octave below and one octave above, the artwork condenses the movement from a low register to a high register within a single range.
An exploding image on the left and a fuel tank with a piccolo on the right are placed within a single scene. If the exhaust pipe functions as a device that concentrates energy, the smoke and the piccolo evoke a sense of release and ascent.
Moreover, the inherent pitch of a particular instrument becomes an element that determines the tension and direction operating within the frame, translating the process of sonic transition into physical objects.

8vb to 8va

Night flight

Orb Halos 2

Young-Ae's home

Haechan Kang is a painter who explores the subtle atmosphere embedded within everyday spaces. The artist believes that “nothing is truly empty,” suggesting that even seemingly vacant places are filled with invisible elements—light, humidity, temperature, and traces of emotion and memory. Kang’s paintings attempt to visualize these intangible sensations through layered colors and delicate brushwork.

Rather than depicting dramatic narratives, Kang focuses on moments when familiar environments suddenly feel unfamiliar: a playground that gradually cools into silence at dusk, or the violet light that settles between sunset and night through a window. These fleeting shifts create the sensation of encountering another dimension within ordinary life. By capturing such moments, Kang transforms everyday landscapes into quiet, contemplative scenes.

The artist frequently employs the motif of a window, suggesting a passage between inner perception and the outside world. Kang’s works function as visual portals through which viewers can pause, reflect, and reconnect with subtle emotional states embedded in daily life. Through layered brushstrokes and carefully composed color fields, the paintings invite viewers to experience atmosphere itself as a living presence.

ROKKANKIM is a South Korea–based artist who presents works across a range of genres, primarily producing media works through collage and video compositing techniques.

Drawing inspiration from the social and cultural phenomena of the 1960s and 1970s, the artist combines these references with personal experiences to create surreal visual narratives. ROKKANKIM is particularly interested in duality—the coexistence of opposing qualities such as good and evil, positivity and negativity. His work invites viewers to experience each piece in their own way, much like how a single event or phenomenon can be interpreted differently depending on individual perspective.

His representative series include Space Oddity, which explores the dual nature of astronauts’ lives alongside the beauty and fear of outer space, and Sea the Wall, which examines the layered and often conflicting relationships between the sea, architecture, and humanity.

A water droplet hovers, suspended in the moment just before it falls. Artist Yoo Choong-mok captures this precarious instant, freezing it within space through the materiality of glass. This moment—poised on the brink of vanishing—is never static; it shifts and transforms with the interplay of light, gaze, and movement. Rather than explaining the subject, his work reveals the very moment when our senses are awakened. At the intersection of water droplet, glass, light, space, and the viewer’s own movements, the work emerges as a singular scene. As viewers pass through, they find themselves slowing down, if only for a brief moment.

Kim Yong-il explores childhood memories and collective emotions through the recurring motif of the house. Depicting villages, homes, and fragments of everyday life, his paintings evoke the fading traces of lived experiences. For the artist, the house is not merely an architectural structure but a symbolic space where personal memories intersect with shared communal narratives.
Kim’s work unfolds through two visual narratives: the “stories of day” and the “stories of night.” The former presents luminous scenes of houses and fields bathed in sunlight, recalling the vitality and warmth of childhood memories. The latter introduces a quieter and more contemplative atmosphere, shaped by the imagery of moonlight and seolbap—snow that falls around the Lunar New Year. Together, these two modes traverse different layers of time and recollection, expanding personal memory into a shared emotional landscape.
Charcoal plays a crucial role particularly in the “night” series. The material, reminiscent of the charcoal the artist once played with as a child, becomes a medium for recalling memory. By covering the canvas with charcoal and then scraping it away, Kim creates subtle tonal gradations that suggest memories fading or intensifying over time. This process produces a calm atmosphere and generous areas of empty space that invite viewers to project their own recollections into the work.
Rather than merely depicting landscapes, Kim Yong-il’s paintings function as devices that recall disappearing traces of life and communal memory. The expansive blank spaces within his compositions allow the viewer’s memories to enter the work, transforming the artist’s personal narrative into a shared story of nostalgia, empathy, and quiet reflection.

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.

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