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.

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

Stool 01

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

A Tiny Comfort

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

Tangerine warehouse 38

With You (feat. On the Way to the Bean Field #2601), 48 x 30cm

With You (feat. On the Way to the Bean Field #2601)

Beyond the dawn

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

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

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

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tipping point-結-9

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-形-14

tipping point-形-13

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

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

Night of Waiting #2502

tipping point-形-12

tipping point-結-10

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.

Bookshelf

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.

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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