This new series features glaze paintings set within silver frame structures. In ceramics, glaze traditionally serves to coat and finish a surface — but here, it is transformed into a material and a tool in its own right. The picture plane is composed through a process of pouring, layering, and bursting glaze as one would paint, yielding unpredictable results shaped by the time and temperature of the firing. The resulting variations in thickness, density, and flow form distinct strata across the surface — a departure from glaze's conventional functional role in ceramics, toward a practice that actively foregrounds the material itself.

The silver that comprises the frame stands in contrast to the glaze's free movement, while simultaneously responding to light and environment, undergoing a gradual transformation of its own. Fixed structure and fluid surface, a material that shifts with time — these coexist within a single picture plane. The painted imagery will carry traces of accumulated and dispersed movement, like the light of stars or the residue of sky, while the surrounding silver continues its own quiet transformation in relation to the space it inhabits.

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

Silver lining -  Sunlight in the sky

Silver lining -  Twilight

Silver lining -  Sky

Silver lining -  Stardust

<Silver lining -  Daylight>

My paintings explore how landscape opens into The Returning Place.
I am drawn to moments that seem suspended—clouds before they dissolve, waves gathering, or a sky just before night arrives. These fleeting states appear to hold something not yet fully revealed.
Recurring forms such as clouds, waves, moons, and horizons appear throughout my work. What first appears as landscape slowly unfolds into place. Through perception and lived experience, familiar scenes begin to reveal themselves differently.
Rather than depicting real places, I paint the imagination waiting within familiar landscapes. In this sense, my landscapes are not destinations but thresholds—places where perception, memory, and possibility quietly overlap.
My paintings move toward The Returning Place—a place that feels newly encountered yet strangely remembered, as if it had always been there.

Lighter than fog

The tides shine

My paintings explore how landscape opens into The Returning Place.
I am drawn to moments that seem suspended—clouds before they dissolve, waves gathering, or a sky just
before night arrives. These fleeting states appear to hold something not yet fully revealed.
Recurring forms such as clouds, waves, moons, and horizons appear throughout my work. What first appears
as landscape slowly unfolds into place. Through perception and lived experience, familiar scenes begin to
reveal themselves differently.
Rather than depicting real places, I paint the imagination waiting within familiar landscapes. In this sense,
my landscapes are not destinations but thresholds—places where perception, memory, and possibility quietly
overlap.
My paintings move toward The Returning Place—a place that feels newly encountered yet strangely
remembered, as if it had always been there.

Here we draw breath and draw light

My heart is like a singing bird

Look back on time with kindly eyes

There is another sky, Ever serene

all the World is ajar

a dream where I become a bird 3

a dream where I become a bird 4

a dream where I become a bird 2

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.

Pending 보류

afterimage 잔상

sediment 1 축적 1

Based in Seoul, Lee Heami explores the diverse material qualities of clay. She creates freely formed objects unbound by function, and through the repeated process of silvering their surfaces, she speaks to the accumulation of time and the nature of connection. By hand-building, firing, and layering silver onto her forms, she expresses a condensed beauty and fluid sensibility — works that respond with quiet attunement to the temperature and humidity of a space, drawing the viewer into a sensory dialogue. Lee Heami's practice is an open-ended sculpture that transforms through relationship, always moving toward but never fixing itself at completion.

Landscape Opens Into ‘The Returning Place’

My paintings explore how landscape opens into The Returning Place.
I am drawn to moments that seem suspended—clouds before they dissolve, waves gathering, or a sky just before night arrives. These fleeting states appear to hold something not yet fully revealed.
Recurring forms such as clouds, waves, moons, and horizons appear throughout my work. What first appears as landscape slowly unfolds into place. Through perception and lived experience, familiar scenes begin to reveal themselves differently.

Rather than depicting real places, I paint the imagination waiting within familiar landscapes. In this sense, my landscapes are not destinations but thresholds—places where perception, memory, and possibility quietly overlap.

My paintings move toward The Returning Place—a place that feels newly encountered yet strangely
remembered, as if it had always been there.

EUM Hyunchul studied hotel management in Switzerland and later majored in film in Korea. After working across film, advertising, music videos, and as an MTV Creative Director, he developed his own distinct way of observing and interpreting images through these diverse experiences.

For him, tufting is not simply a craft technique, but a way of transforming images and sensations into tangible surfaces. The repetitive hand movements, density, and subtle differences in texture become a method of constructing the surface like a painting, while at the same time revealing a strong sense of materiality similar to sculpture.