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My works often feature figures who are gathering or carrying various objects — bags resembling nets, ceramics, fruits, beads, and other items.
These figures seem to be collecting, moving, or perhaps carrying the weight of all their belongings within an uncertain dwelling.
Yet what they share in common is the act of gathering — bearing resources, storing what can be contained, and collecting what has the potential to bring forth new life.

Such gestures go beyond mere repetition or survival; they resemble a quiet ritual of everyday life —
a preparatory act for crossing into another world,
a beginning that holds both the fragility and resilience of existence.

GALLERY IN, located in Yeonhui-dong, Seodaemun-gu, is a space dedicated to making Contemporary Art easily accessible and friendly to the public. We aim to introduce artists, both domestic and international, fostering communication with art lovers through various exhibitions. GALLERY IN annually showcases an exhibition featuring Japanese craft artists. We have plans to create various projects beyond crafts in the future.

GALLERY IN

Place of Arrival

Artist Park Younghwan continues a painting practice that merges imagination with architectural composition, rooted in the tradition of East Asian landscape painting. Through variations of ink, hanji (traditional Korean paper), blue ink, and dense black ink, he layers subtle tonalities onto a monochromatic surface, juxtaposing nature with geometric forms, and figures with symbolic elements within a single pictorial space.
Within these landscapes appear perfect black spheres, modernist Western buildings, entangled branches, and figures drawn from memory — together constructing an imagined order that coexists with the artist’s personal sense of temporality.
The sphere, Park’s fundamental unit, serves as the most symbolic element within his compositions. Each varies in size and depth of ink, tracing the passage of time across the canvas. The spheres embody both the artist’s presence within multiple moments and spaces of his life’s journey, and the visible traces of his continual pursuit toward an ideal form of existence.

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

at the cliff

We in White Memory

In today’s world, truly sensing materials has become rare.
This exhibition blends the game world with reality, evoking the hand’s experience of discovery.
On screens, acquisition happens with a click, leaving only intangible data.
These works translate the moment a game avatar gains an item into real-life touch.
Grasping objects by hand conveys weight, warmth, and texture.
It revives the tangible sensation of acquiring something lost on the screen.
Abstract digital actions are transformed into material reality.
The hand becomes a mediator between body and world.
Through touch, we reconnect with the physicality of objects.
The works explore the sensory depth behind acts of gaining and discovering.


Among the Flowers of the sun

Contemplation

When I Sank Down

Flowers often appear in my work. However, they are not the delicate or decorative images that one might typically imagine.
Rather, they are bulbous plants or tall flowers that assert their presence through form and volume.
These flowers are not merely botanical representations, but entities imbued with the energy of birth and becoming.
Their physicality and vitality embody the process of growth, the passage of seasons, and the fleeting emotion of a blooming moment.

The transformation that occurs when a flower blossoms awakens and renews the everyday space,
inviting both myself and the viewer to perceive our surroundings with a heightened sense of awareness.
Although flowers may seem too familiar or conventional as a subject,
it is precisely because they are so close to our daily lives that they hold a deeper significance in my work

Tiny Glimmers

Artist Park Younghwan continues a painting practice that merges imagination with architectural composition, rooted in the tradition of East Asian landscape painting. Through variations of ink, hanji (traditional Korean paper), blue ink, and dense black ink, he layers subtle tonalities onto a monochromatic surface, juxtaposing nature with geometric forms, and figures with symbolic elements within a single pictorial space.
Within these landscapes appear perfect black spheres, modernist Western buildings, entangled branches, and figures drawn from memory — together constructing an imagined order that coexists with the artist’s personal sense of temporality.

The sphere, Park’s fundamental unit, serves as the most symbolic element within his compositions. Each varies in size and depth of ink, tracing the passage of time across the canvas. The spheres embody both the artist’s presence within multiple moments and spaces of his life’s journey, and the visible traces of his continual pursuit toward an ideal form of existence.

Aside

Misleading signals

Warp and Weft

Modeling Bead

Upon the stillness of a snowy winter, artist Younghwan Park summons the figures of the past — the “I” and “we” — in miniature form, no larger than a fingernail. Memories seeped in cobalt blue onto the pure surface of white porcelain lie quietly sealed beneath its glaze. Within the frozen landscape, two people who have sustained their lives through the cold share faint traces of warmth — an unspoken monologue of hearts that never reached one another. The reclaimed wood frame approaches like another stratum of time. Wood that bears the scars of age embraces the porcelain, allowing the two materials to meet within a single plane.
The work conveys a winter that is not cold — a winter imbued with the warmth preserved by memory.

Each other

warmth

With a focus on Korean artists, SPACE SO, a contemporary art gallery based in Seoul, concentrates on identifying emerging artists and keeping close collaboration with established artists so as to support their artwork and career development. In addition, SPACE SO plans and develops a variety of exhibitions and new projects to provide an opportunity for art admirers to see and experience the works of these artists.

​SPACE SO

Eccentric Abattis

Upon the stillness of a snowy winter, artist Younghwan Park summons the figures of the past — the “I” and “we” — in miniature form, no larger than a fingernail. Memories seeped in cobalt blue onto the pure surface of white porcelain lie quietly sealed beneath its glaze.
Within the frozen landscape, two people who have sustained their lives through the cold share faint traces of warmth — an unspoken monologue of hearts that never reached one another. The reclaimed wood frame approaches like another stratum of time. Wood that bears the scars of age embraces the porcelain, allowing the two materials to meet within a single plane. The work conveys a winter that is not cold — a winter imbued with the warmth preserved by memory.

Hyunwoo Li(b.1990) is an artist who delicately observes the moments when everyday life transforms into painting. He captures fleeting instants that might easily pass by and elevates them into special scenes through countless colors and repetitive brushstrokes. His works offer a moment of pause and tranquility amid the fast-paced rhythm of modern society.

"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

Drive

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


Park Younghwan has sustained a painting practice grounded in the tradition of East Asian landscape painting, combining imagination with architectural composition. Through variations of ink on hanji including cheongmeok (bluish ink) and dameok (dense, fully-loaded ink) he lends subtle chromatic strata to black-and-white surfaces, juxtaposing nature and geometric form, figures and symbols, within a single scene. Perfect black spheres, Western buildings in modern styles, tangled stands of trees, and figures recalled from memory all find their place on the picture plane, where a fictive order and the artist’s personal temporality are realised simultaneously within the landscape.
The sphere (gu), the artist’s basic unit, appears as the most emblematic object in the work, distributed across the surface in differing sizes and gradations of ink as though tracing the arc of elapsed time. It becomes, at once, the artist himself present in the many times and spaces of a life’s journey and the record of a process moving toward the most ideal form of living to which he aspires.

 ByungHo Lee (b. 1976) received both his B.F.A and M.F.A in sculpture from Hongik University, Seoul. Solo exhibitions of his work have been organized at PIECE (Perigee Gallery, Seoul, 2023), Three Shades (SPACE SO, Seoul, 2020) and BLOW UP (Gallery Zandari, 2009). Additionally, Lee participated in several group exhibitions including The Chronicle of Lost Time (SNU Museum of Art, Seoul, 2021), Repetition and Difference: About Time (Busan Museum of Art, Busan, 2019), Aging World- Will you still love me tomorrow? (Seoul Museum of Art, 2019), and Medicine and Art: Imagining a Future for Life and Love (Mori Art Museum, Tokyo, 2009). Lee has received awards such as SeMA Young Artist from Seoul Museum of Art, Korea (Seoul, 2011), and the 29th Joong Ang Fine Arts Prize, Korea (Seoul, 2007) and has participated in art residencies at Gyeonggi Creation Center (Gyeonggi, 2013) and Nanji Art Studio of Seoul Museum of Art (Seoul, 2010). His works are housed in collections of esteemed institutions like the Seoul Museum Art, Busan Museum of Art and Suwon Museum of Art.

Hyunwoo Li(b.1990) captures everyday scenes and presents them with a familiar yet fresh perspective and flow. He translates moments from ordinary life-whether a landscape glimpsed while driving or a scene encountered while walking-into paintings, imbuing still surfaces with a sense of movement, density, and temporality. Through layers of countless brushstrokes and a rich palette, his works, grounded in careful study of specific subjects and artistic contemplation, offer viewers and a brief pause- a moment to catch their breath-amid the ever-changing rhythms of daily life.

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