In the planning stage of my work, I use oil clay to develop a range of different models. Through the process of cutting and attaching the clay, I explore sculptural elements discovered in the material qualities of the medium itself. By constructing structure through planes and lines, I seek to incorporate into the work the unintended elements, irregular surfaces, and organic curves that emerge in the process of carving wood.

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

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In the planning stage of my work, I use oil clay to develop a range of different models. Through the process of cutting and attaching the clay, I explore sculptural elements discovered in the material qualities of the medium itself. By constructing structure through planes and lines, I seek to incorporate into the work the unintended elements, irregular surfaces, and organic curves that emerge in the process of carving wood

Stool 02

Home – Curtain is a work about the thin boundary that lies between inside and outside within the home. A curtain does not completely block off a space, but instead filters light and air, allowing the outside landscape to pass through in a blurred way. I wanted to express this softly permeating scene through the materiality of hanji.
Because hanji is a paper with living fibres, the pigment seeps into its surface, creating subtle bleeds and layers. These diffusions can resemble light passing through curtain fabric. For this reason, in this work I sought to reveal not so much a clear form as overlapping colours and flowing traces.
The scratched and blended surface made by pigment and modelling paste can evoke the folds of a curtain stirred by the wind, or a scene in which the view beyond the curtain appears faintly superimposed.
Home – Curtain is an attempt to preserve within the picture plane a scene in which interior and exterior meet gently—like the moment of looking outside from within the home, or the moment when outside air softly enters the room.

home - curtain

In the planning stage of my work, I use oil clay to explore a range of different forms. Through the process of cutting and attaching the clay, I examine sculptural elements that emerge from the material properties of the medium itself. This work extends into wood the sculptural language I had previously developed through clay casting. In the process of carving the wood, I sought to incorporate the unintended elements, irregular surfaces, and organic curves that revealed themselves along the way into the making of the piece.
Whereas my earlier wood works focused on constructing structure through planes and lines, this piece attempts to express the volume and form of a mass of clay. Cherry wood was joined, hand-carved, and finished with ottchil lacquer. The roughly finished surface of the stool bears the marks left by the metal blade of the grinder during the carving process. While in earlier works I would refine such rough surfaces with fine sandpaper to achieve a smooth finish, in this piece I chose instead to preserve and apply the raw, unpolished carved surface as it was.

Stool 01

The Hug series explores the forms of leaning on, embracing, and being held by another person. To me, a hug is not simply a scene of physical embrace, but a way of sharing each other’s weight and restoring an emotional balance.
To be held by someone is, on the one hand, an act of placing one’s body close to another, but on the other, it is also a moment of briefly letting down one’s own boundaries. A leaning body is not one that has completely collapsed, but rather one that pauses for rest in trust of the other’s presence. For this reason, what I wish to convey here is not so much the “human figure” itself, but the gap and density created between two people, the cushioning space that emerges between one body and another, and the rounded forms made by arms that enfold.
Some hugs are tight and firm, while others end as lightly as resting one’s shoulder against another. I want to bring the many textures of an embrace—protection, comfort, reliance, and lingering—into a single scene.
What particularly interests me is the visual sensation produced in the moment of being held. It is the planes formed as arms, backs, and shoulders overlap, the boundary where each other’s warmth meets, and the traces left by that contact. Ultimately, this work seeks to evoke the sensations conveyed by both people and objects.


hug #35

The Hug series explores the forms of leaning on, embracing, and being held by another person. To me, a hug is not simply a scene of physical embrace, but a way of sharing each other’s weight and restoring an emotional balance.
To be held by someone is, on the one hand, an act of placing one’s body close to another, but on the other, it is also a moment of briefly letting down one’s own boundaries. A leaning body is not one that has completely collapsed, but rather one that pauses for rest in trust of the other’s presence. For this reason, what I wish to convey here is not so much the “human figure” itself, but the gap and density created between two people, the cushioning space that emerges between one body and another, and the rounded forms made by arms that enfold.
Some hugs are tight and firm, while others end as lightly as resting one’s shoulder against another. I want to bring the many textures of an embrace—protection, comfort, reliance, and lingering—into a single scene.
What particularly interests me is the visual sensation produced in the moment of being held. It is the planes formed as arms, backs, and shoulders overlap, the boundary where each other’s warmth meets, and the traces left by that contact. Ultimately, this work seeks to evoke the sensations conveyed by both people and objects.

hug #36

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.

"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

tipping point-形-12

tipping point-形-14

tipping point-形-20

For this metal work, I introduced sponge as a new material within a context similar to my clay works. Cut into regular forms, the sponge is pressed and bent by the maker’s intention and by external forces such as gravity. In this process, the material properties of the sponge—its tendency to yield or resist—become visible through form. The sponge was soaked in epoxy to fix its shape, and then cast in metal.

Mirror

tipping point-結-9

In the planning stage of my work, I use oil clay to experiment with a range of different forms. Through the process of cutting and attaching the clay, I explore sculptural elements discovered in the material qualities of the medium itself. This work extends the sculptural language I previously developed in clay casting into wood. Through the process of carving the wood, I sought to incorporate unintended elements, irregular surfaces, and organic curves that emerged along the way into the sculptural method of the work. Whereas my earlier wood pieces focused on constructing structure through planes and lines, this work attempts to express the volume and form of a mass of clay.
It is made by joining cherry wood, carving it by hand, and finishing it with ottchil lacquer.

Bench

tipping point-結-10

Home – Carpet is a work about an object that lies at the lowest point within the home, yet receives the movements of the body most intimately. A carpet is stepped on and brushed against every day, gradually pressed down over time, yet the traces left upon it remain only subtly visible. I wanted to preserve these delicate traces of time within the picture plane.
In this work, it was important to reveal the natural texture of hanji as it is. The marks left by pigment spreading and soaking into the paper can resemble the fibres of fabric, or the worn texture of a textile that has been used for a long time. The edges were stitched so that the hanji itself might appear more textile-like. As the fibres of the paper overlap with layers of pigment, I sought to create a surface that feels softly accumulated.

home - carpet

For this metal work, I introduced sponge as a new material within a context similar to my clay works. Cut into regular forms, the sponge is pressed and bent by the maker’s intention and by external forces such as gravity. In this process, the material properties of the sponge—its tendency to yield or resist—become visible through form. The sponge was soaked in epoxy to fix its shape, and then cast in metal.


Sculpture

tipping point-形-13

This work captures a scene at the window as observed by artist Kijeong Kim within the space of home. After applying pigment on jangji, the artist stitched and wove the paper with structured threads, intending the thread-based composition to evoke the form of a window. The piece carries the distinctive softness and delicacy inherent to hanji and thread.

home #11

The Home series revisits the domestic landscape, imbued with the touch of family, through a quiet and warm gaze. Although the home may seem to remain always in the same place, the objects within it hold the passage of time and the movements of the body in subtle yet tangible ways.
Objects such as lights, sofas, blankets, and clocks appear throughout the works. The lingering warmth of a seat once occupied, the texture of a blanket often drawn close, or the expression of a clock that points to the same hour each day while passing through days that are never quite the same—these are the traces of everyday life that I seek to follow through these seemingly ordinary things.
This gaze does not remain only inside the house. The trees visible beyond the window and the landscape outside also continue into the work as though they were part of the home, or another kind of interior touching its edges. Rather than thinking of home as a space merely defined by walls, I want to translate into my work the idea that it may instead be the full range of sensations upon which I lean and dwell.
The persimmon tree, jujube tree, and camellia tree that I am currently working on are all part of the Home series.

home - 이불

Yun Taein’s practice can be understood as an exploration of how soft and fluid materiality shifts into the language of structure and form. Taking materials such as clay and sponge—substances that respond sensitively to external pressure and contact—as her point of departure, the artist attends closely to the moments in which the movement of the hand, the resistance of the material, and the incidental traces produced in the making process become layered and accumulated. Impressions, curves, smudges, and tears left on the surface are not treated merely as by-products of process, but as formative clues that anticipate the structure of the work to come. In particular, organic forms that emerge in a pliable state are later transferred into materials of opposing character through processes such as metal casting or wood carving, allowing the traces of softness to become newly embedded within hard and solid matter. In this way, Yoon Taein’s work delicately reveals the moment in which one materiality is translated into another, traversing sensation and structure, pliancy and solidity, accident and construction. While her furniture and objects reference functional forms, they do not remain confined to the realm of utility; instead, holding within them the residue of sensation and the memory of material, they invite reflection on the sculptural potential inherent in softness.

I am constantly in search of people and places that bring me a sense of stability. In life, I am always confronted with certain thresholds where I long for steadiness. At those boundaries, I find myself seeking environments and situations that help me maintain a calm emotional state. Most of these are familiar to me: my family, my home, my room, and the surroundings that have held me for a long time. When I ask myself where the process of being filled and forming a sense of self first began, I cannot leave out home and family. I hold close to my heart the softness and warmth of these things, and the precious moments at home where I can express my feelings honestly. In doing so, I try to preserve a quiet emotional balance. It was only natural, then, that the act of painting and the choice of what to paint began with what was closest to me. As I step into the home and room marked by my own traces, I find myself covering over the unstable emotions I could not express outside, and recovering a sense of calm and peace. I capture in my paintings the blue wallpaper close to my body, the scattered blue clothes, the blue blankets and pillows—objects that bear the touch of my hand. Along with them, I try to hold within the painting the tactile sensations of these things against the skin, as well as the emotions of those moments: the comfort, warmth, and tenderness that arise from familiarity.

The feeling of fur brushing between my toes,
the rush of air when my father lifts the blanket high and lets it fall while I am lying down,
the snug warmth of tucking the blanket tightly around my body,
the feeling of touching the cool temperature that has settled into the pillow because of the wind outside,
the soft texture of an old blanket worn thin with holes,
a pair of socks turned inside out on the floor,
the faint sunlight slipping through the blinds,
the sunlight and brightness that reach me as I lie down,
the moon visible through the window before sleep...

I gather these emotions and sensations from my own place and wrap them together, trying to paint their atmosphere and energy. In the process of expression, the act of applying materials softly onto hanji, or tearing its surface to reveal its delicate fibres, has itself become a process through which I find emotional calm. Through the repeated gestures of laying down thick layers of paint and scraping them away, or raising the surface of the hanji, I attempt to convey indirectly a kind of fluffy, tender warmth even through the material surface itself.
Ultimately, I hope that a painting, shaped by the attitude revealed in both the subject I look at and the process of making, can become a bearer of warmth—something held close at one’s side—and that the scope of this warmth may gradually expand.

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.

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