Through photoscollected via the web, Kim's work embodies the imagined nature and conveys it as though it had been experienced in real life. While traditionalartworks convey nature seen through sight as seen while painting, Kim captures the essence of the asynchronous image seized throughphotography. The "On the waves." series expresses the location and moment where fiction and reality collide by overlapping the seasons andweather experienced on an anonymous beach and in real life. With shards of senses colliding and combining, these pieces try to aggregateeveryday life with remnants of incidental sensations. The imagined sense of movement is artistically articulated, recreated with a thin sense ofspace, and placed on a canvas based on digital photographs. It takes in the image from the monitor and applies a tiny bit of creativity to create awhole new visual world. The moment's image is caught and the invisible components are conveyed visually through the waves that carry theseason's colors. By contemplating and creating a virtual environment, Kim continues her search to find a distinct depth amid the priceless andsuperficial details of precise pieces. By doing this, she emphasizes leaving sensory imprints and communicating beyond the confines of realityand fantasy.

"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

The color of waves : Mint

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.

tipping point-形-20

Gijeong Goo explores the relationship between humans, machines, and nature by transforming real landscapes into digital imagery through 3D rendering, translating them into video and installation works within physical spaces. In this process, digitally reconstructed landscapes converge with virtual elements, giving rise to an ambiguous sensibility that hovers on the boundary between the real and the virtual.

CHOI&CHOI Gallery was founded in Cologne, Germany, in 2012. Since then, the gallery has built an extensive network of artists and institutions across Korea, London, Paris, Berlin, and Geneva — driven by a commitment to fostering cultural exchange between these regions. A Seoul space opened in Gangnam in 2016, and has since relocated to Yeonhui-dong, a neighbourhood where independent galleries and experimental spaces are forming a community of their own.
CHOI&CHOI has consistently championed Korean contemporary art through ongoing relationships with Korean artists, introducing both local and diasporic Korean contemporary art to international audiences via exhibitions and art fairs.
The gallery's Western roster focuses on emerging talents whose work has gained recognition in their local scenes. CHOI&CHOI is committed to nurturing these artists over time — and to building lasting relationships with both new and established collectors.

CHOI&CHOI Gallery

The Transparent Visual Apparatus no.5

Kim Joo-hyun's current works represent a series of creative endeavors striving to exclude conventional drawing devices, such as vanishing points, which were habitually employed in the past. While the artist intervenes to generate images on the canvas, the work is completed by focusing solely on creating color, ensuring meaning and intention do not surface. Water-based acrylic paint is applied horizontally, allowed to settle and dry, or tilted to induce flow. Through this process, the canvas reveals a natural visual topography. The “stability derived from uncertainty” mentioned by artist Kim Joo-hyun does not resolve into form, stemming from an effort to constantly evade things defined and fixed by meaning. Since neither subject matter nor theme drives the image, the completed work evokes the artist's experienced synesthesia and fleeting moments.

Pageroom8 aims for an organic and infinite relationship between exhibitions and books. With the opening of a space in March 2021, special exhibitions are being held in earnest. The exhibition is largely composed of several series projects and special exhibitions, efficiently and intensively introducing the works of emerging and established artists.

PAGEROOM8

Red Depth

Matthew Stone develops a distinctive painterly language through 3D imaging and digital processes, constructing the human figure through dynamic, multicoloured brushstrokes. He begins by hand-painting on glass, photographing these gestures, and digitally collaging them with forms created in 3D software — the resulting compositions are then printed onto canvas. More recently, Stone has introduced oil on linen into his practice, merging printed imagery with hand-painted interventions to further blur the boundaries between methods, redefining painting as a genre while engaging with contemporary questions surrounding human existence.

Human Behaviour

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

Still Life on the Table-Cherry Cake

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

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

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

Changyeol Gu translates the sensorial language of plants—acquired through growing up near lush fields and overgrown meadows—into a painterly language of his own. Observing how natural forms continually shift their appearance through colour and shape, the artist identifies mechanisms of seduction devised for reproduction and systems of protection evolved for survival. These elements are perceived not merely as formal characteristics of nature, but as autonomous languages in themselves.

By radically enlarging or intensifying the structures through which plants communicate and endure—such as the arrangement of pistils and stamens, the colours and scents that attract pollinators, and the thorns and hairs evolved for defence—the artist summons onto the canvas the distinctive wonder of what he terms “speaking plants.”

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

Gathering toward dispersal

Some landscapes touch the body before they are understood. Standing before Seonghwa Hong’s paintings is like stepping into the stillness of a hushed dawn.
As Merleau-Ponty suggested, seeing is not a mere act of analysis but a way of being intertwined with the world. Figures adopt the pulse of plants as their breath and the patterns of leaves as their skin. By emptying the self rather than imposing artificial definitions onto the raw linen, Hong allows her subjects to enter the space on their own terms. Through the patient accumulation of layered color, the canvas gradually reaches a density that lifts itself toward a moment of quiet liberation.
Here, time suspends its horizontal flow and sinks into depth. Moving beyond artificial definitions, this exhibition becomes a serene first breath—inviting us to sense the true texture of existence, momentarily freed from the frantic pace of the world.


| 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

Serenity 38

This work was composed while imagining a group of forms—possibly plants or animals—ascending a steep terrain. It emerged from a chain of reflections on the meanings embedded in the act of “climbing.”

While considering how one might endure the longest on sharply inclined ground, the artist arrived at the idea of ascent, ultimately realizing that all such methods are ways of efficiently resisting gravity. This line of thought naturally extends to a meditation on “standing,” connecting the work conceptually with the accompanying piece, ‘둥글납작하게 서 있는’.

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.

오르는 모습들 Ascending Forms

The forms depicted by artist Bac Jung-won seem to transcend mere observation, as if they were penetrating and dissolving into their very existence. It is as if one tunes into their self-awareness, accepting the sensation of time. Though oil paintings, the toned-down colors and watercolor-like silhouettes, rendered with relatively high saturation and transparency, are positioned precisely where needed. They make us see the actual, moistly water-laden forest, the grapevine, and the waves crashing in the deep night. The artist's subjects are somewhat distant from those we associate with linear life cycles. Perhaps the simultaneous coexistence of transience and eternity felt within them represents a twisted sense of time—one that embraces even the clumsy death that no one can truly know unless experienced.

A Rainforest

Buwon develops paintings and art toys rooted in his long-standing interest in toys and street culture, centering on a rabbit character modeled after himself. Behind its charming appearance, the character embodies emotions from growth and uncertainty to humor and cynicism, reflecting the artist’s personal narratives. Moving fluidly between digital and analog, 2D and 3D, he continues to expand his distinctive artistic universe through global brand collaborations and international exhibitions.

Gallery STAN is a contemporary art gallery based in Seoul, dedicated to presenting bold and thought-provoking works by emerging and established artists from Korea and beyond. Founded with a vision to serve as a dynamic platform for experimental narratives and cultural dialogues, the gallery is committed to fostering artistic practices that engage with the complexities of our time.

Through solo and group exhibitions, public programs, and interdisciplinary collaborations, Gallery STAN seeks to blur the boundaries between visual art, performance, design, and new media. The gallery places a strong emphasis on curatorial experimentation and social relevance, offering both local and international audiences a space to encounter new ideas and perspectives.

As an active player in the global art ecosystem, Gallery STAN also participates in major art fairs and collaborates with institutions, collectors, and curators to support the long-term growth of its artists. At the heart of its mission lies a belief in art’s ability to question, connect, and transform.

Gallery STAN

Testosterone 02

“Translation does not repeat the original; it expands its possibilities.” by Walter Benjamin
This statement by Walter Benjamin describes precisely how Hwang Hyeyoung’s Nana’s Wonderland operates. Borrowing the structural framework of Alice in Wonderland, the artist brings it into her own pictorial universe, opening new imaginative possibilities.
At the center of the exhibition, the fairytale book and the paintings mirror one another, forming a “living story” that the viewer enters rather than reads page by page. Nana’s Wonderland is not a simple variation on a narrative; it is a process in which text and image build a world together. Nana’s journey becomes the first scene through which the artist reveals how her artistic world expands and reconstructs itself.

ALICES

The Light of Space Race series illuminates the individual within the historical current of the Space Race between the United States and the Soviet Union. Initiated in the name of humanity’s great leap forward, the series explores the duality of light and shadow inherent in advanced technologies—achievements that were ultimately driven by political and military ambitions

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

Light of space race 4

Through Lines of Sight, SPACE776 Seoul poses a question central to contemporary art: not simply what is depicted, but under what conditions one looks. Situated at the intersection of the visual history shaped by the modern invention of the automobile and contemporary painterly sensibilities, the exhibition quietly reveals the flows and rhythms that emerge as disparate lines of sight overlap within a shared space.

Space776 exhibits early to mid-career artists who work in a variety of mediums ranging from live multimedia performance art to traditional oil painting. The gallery accommodates artists from around the globe, taking their works to local and international art fairs such as Volta New York, Volta Basel, Art Miami, Palm Beach Modern + Contemporary, and Art Busan. 
Space776 was founded in Bushwick, Brooklyn in 2013. In 2020, the gallery relocated to its current residence at 37-39 Clinton Street on the Lower East Side of Manhattan. Space776 also opened a location in Seoul, South Korea in 2020 in accordance with the gallery’s mission to promote the international exchange between local New York artists and the Korean artistic sphere. 

Space776

어떤 도시조각

“Crying Bird” is a figurative painting. The emotions of the surviving bird, which laments the loss of the departed mate, and the viewpoint of the world watching it coexist in work. The artist creates a narrative of conflicting feelings within the canvas using a contemporary interpretation of Oriental painting, including flowers blooming and falling, a cat playing, a dead bird, and a bird weeping. The artist's belief that everyday life is nonsense is revealed by the contrast between the unassumingly beautiful landscape and painful emotions.

아르투(Artue)는 동시대 예술 현장의 역동성을 자양분으로 삼은 역량 있는 예술가들의 작품을 엄선하여 생동감 넘치는 미술의 본질을 세계에 알리는 데 헌신하고 있습니다. 예술가들을 위한 플랫폼 구축은 갤러리, 컬렉터 및 미술 애호가들을 연결해 지리적, 물리적 경계를 넘어선 총체적 경험을 제공하려는 아투의 핵심 미션과 연결됩니다. 아투를 통해 매력적인 미술의 세계를 발견하고 그 어디에서도 만날 수 없는 기회를 경험해 보시기 바랍니다. 

Artue is dedicated to bringing the vibrant essence of art to the world stage, presenting a curated selection of works by talented artists who embody dynamic contemporary scenes. By creating a platform for these artists, we foster connections among galleries, collectors, and art enthusiasts, offering an immersive experience that transcends geographical boundaries. Discover the captivating world of contemporary art through Artue and unlock unparalleled opportunities for growth, exposure, and success. Join us in celebrating the diverse and remarkable contributions of artists to the global art community.

Artue - Korea

Crying bird

Staying at the Oharano Studio residency in Kyoto, Japan, the artist presents works that condense the sensations of observing nature at specific moments into the form of a “portrait.”
A “portrait” is not merely a depiction of outward appearance, but an act of capturing the expression and emotion a being reveals at a particular point in time. Jang Geon-yul’s new works expand this traditional notion of portraiture to natural elements—clouds, flowers, and trees—gazing upon and recording their fleeting presence as if tracing a human life. In doing so, the artist renders the cycles of disappearance and emergence in nature as portraits of vanishing existence.

Portrait of Mountains and Clouds5

John Giorno. We gave a party for the gods and the gods all came. 2017.

Founded in 1926 by Christian Zervos at 14, rue du Dragon in the heart of Saint-Germain-des-Prés, Cahiers d’Art encompasses a publishing house, a gallery, and a revue. The Cahiers d’Art Revue was entirely unique when it was introduced, and it still is: a revue of contemporary art defined by its combination of striking typography and layout, abundant photography, and juxtaposition of ancient and modern art.
Between the 1920s and the mid-1970s, Cahiers d’Art published ninety-seven issues of the Revue and more than fifty books on fine art and architecture, as well as the thirty-three volume catalogue raisonné of Pablo Picasso. After its acquisition and relaunch in 2012 by Staffan Ahrenberg, an editorial board comprised of Sam Keller, Hans Ulrich Obrist, Isabela Mora, and Staffan Ahrenberg was created. Cahiers d’Art has since published several new Revues and art books devoted to Ellsworth Kelly, Rosemarie Trockel, Hiroshi Sugimoto, Alexander Calder, Pablo Picasso, Thomas Schütte, Gabriel Orozco, Joan Miró, Lucas Arruda, Ai Weiwei, Arthur Jafa, Frank Gehry, Christo, and others. From the 1920s till today, Cahiers d’Art has maintained a gallery, exhibiting the artists it publishes.
Cahiers d’Art continues to fulfill its mission to be the cultural bridge between the avant-garde of Picasso, Duchamp, and Le Corbusier, and the leading artists and architects of our time.

Cahiers d'Art

We gave a party for the gods and the gods all came

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.

Gijeong Goo’s practice begins by interrogating the conditions through which images are produced and the hidden structures that sustain them. Transforming real landscapes into digitally rendered imagery and reconfiguring them as installations in physical space, he explores the intersections of humans, machines, and nature. Oscillating between sensation and perception, reality and virtuality, structure and interpretation, his work ultimately raises critical questions about how images are constructed and perceived within today’s multi-layered visual environment.

Kim Joo-hyun's current works represent a series of creative endeavors striving to exclude conventional drawing devices, such as vanishing points, which were habitually employed in the past. While the artist intervenes to generate images on the canvas, the work is completed by focusing solely on creating color, ensuring meaning and intention do not surface. Water-based acrylic paint is applied horizontally, allowed to settle and dry, or tilted to induce flow. Through this process, the canvas reveals a natural visual topography. As artist Kim Joo-hyun stated, the “stability derived from uncertainty” does not resolve into form, stemming from an effort to constantly evade things defined and fixed by meaning. Since neither subject matter nor theme drives the image, the completed work evokes the artist's experienced synesthesia and fleeting moments. As seen in 〈Destiny of Warmth〉 (2025), diluted pigments accumulate, erode, and leave powdery residues. The duration of the production process remains unknowable until one observes the layers of color built up on the canvas's edges. However, it is intriguing that the physical time required for the layers of water and pigment to settle and stabilize on the canvas is comparable to that needed for the sedimentary layers or soil in an actual riverbed.


Matthew Stone has developed a distinctive painterly language through the use of 3D imaging and digital processes, constructing the human figure through dynamic, multicoloured brushstrokes. He begins by hand-painting on glass, photographing these gestures, and digitally collaging them with forms created in 3D software. The resulting compositions are printed onto canvas, combining the material qualities of traditional painting with contemporary technologies. More recently, Stone has introduced oil on linen into his practice, merging printed imagery with hand-painted interventions to
further blur the boundaries between methods. This ongoing exploration reflects his attempt to redefine painting as a genre, while engaging with contemporary questions surrounding the nature of human existence.

Hyewon Na is a painter born in Gwangju, South Korea. Her work explores conflicting yet coexisting emotional states, such as anxiety, violence, imperfection, sacrifice, love, and beauty. Through her art, she reflects on human vulnerability and the tension between finitude and eternity. Her work is a study of how to aesthetically represent these human contradictions. Much of her inspiration comes from history, society, religion, and more.
She earned her Diplom from the Hochschule für Bildende Künste Dresden (under Professor Martin Honert) in Germany, and has participated in numerous solo and group exhibitions in South Korea, Berlin, Dresden, Paris, and other cities. She currently resides and works in Berlin, Germany.

Rooted in the principles of Eastern painting, Hong Seonghwa expresses the rhythm of emotion through line and void. Her controlled strokes carry inner vibration, and the spread of ink leaves traces of time and sentiment. By blending traditional technique with modern composition, she visualizes the breathing and movement of feeling. Her work resonates like a silent rhythm, inviting viewers to look inward and sense their own emotional echoes.


Ahn Soo-in’s work reflects sensations long experienced as a fragile human presence standing before nature—an existence governed by an exquisitely intricate cycle. Confronted with nature as a source of wonder and longing, the raw sense of inadequacy and quiet shame, along with the persistent desire to draw closer despite them, are carefully gathered and held within the pictorial space.

Leaving behind only the visible traces of nature, the artist reconstructs colour and texture into forms reminiscent of paper folding or modelling clay, revealing a tentative yearning to collect and preserve nature itself. This act of composition is not an attempt to faithfully replicate a complete form, but rather a metaphorical reflection on the posture of beings who live perpetually in states of incompletion—an exploration of longing directed toward wholeness.

Bac Jungwon has drawn compositional paintings that express the invisible emotions and minds of humans through various scenes encountered in daily life. After receiving a bachelor's and master's degree in Fine Arts from Kookmin University, she painted unusual, dreamlike, and dramatic situations, but in her mid-30s, she began to paint natural objects and everyday landscapes. Her paintings reveal the fragile psychology and feelings of contemporary people, which are concealed beneath the solid shell of civilization. The artist portrays difficult-to-express psychological levels through a variety of painting mediums, including sketching, watercolor, and oil painting. It defines creation as the discovery of remarkable moments in the repetition of her previous everyday existence and the transformation of the meaning into a material known as painting and reconstructs a daily life from her own unique perspective.

Born in 1990, Buwon had a profound interest in toys, play, and street culture from an early age. While studying industrial design at university, he became deeply immersed in 3D tools and created a rabbit character as a motif of himself. Buwon began to build his career as an artist, creating paintings and art toys.
 
Buwon wishes to convey messages about the journey of life and personal growth through his artistic expressions. His lovely rabbit character is the portrait of the artist himself, inspired by his childhood nickname. Behind the image of an adorable rabbit lies a cynical concern, intertwined with the artist's life. The artist draws inspiration from various experiences, conveying messages that encompass both positive and negative emotions, which include happiness, joy, anxiety, and fear.
 
Buwon comprises two distinct forms of art: paintings and art toys. The artist creates digital sketches before transferring them onto the canvas using acrylic paints. He often incorporates unique materials like fur or modifies canvases and panels to enhance his artistic expression and creativity. When it comes to his art toy production, he primarily focuses on creating the rabbit character. He first creates digital sketches and then builds their form through 3D modeling.
Once the design has been completed, he prints out the outcome using a 3D printer and carefully paints and finishes the toy.
 
Buwon has previously collaborated with renowned brands such as Hyundai Motor, Simmons, MCM, SJYP, Giordano, Line Friends, Nike, Asics, and artist Code Kunst. The artist is constantly expanding his artistic boundaries by holding exhibitions in different regions such as Las Vegas and Jakarta.

Hwang Hyeyoung develops her practice around the central figure of the “girl.” In her work, the girl is a symbolic being who transcends specific gender and age.
Through this figure, Hwang reflects her own fragility, immaturity, and honesty, unfolding stories that resonate with her personal journey of growth. She expresses deep empathy for those experiencing the turbulent waves of adolescence, portraying the moments of growth encountered over time by both the girl in her paintings and the artist herself in reality. The forest in which the girl resides symbolizes the trials of adolescence; the expression of diverse emotions, the courage to confront threats and anxieties, and the adventurous spirit to explore new challenges and unknown worlds are all depicted as integral parts of the process of growing up.

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.

The artist records vanished neighborhoods and landscapes, translating memory and loss into painting. The city is reimagined not as a real place, but as a layered, emotional space shaped by time and perception. What remains is a self-portrait, constructed through the memory of a city that no longer exists.

Yerang Hwang depicts the contradiction and compassion of the familiar world. After receiving a master's degree in Korean painting from Sejong University, she broke down the boundary between western and oriental paintings, and reinterpreted oriental artworks from her own perspective. Concerned with the categories and medium of Korean painting, the artist experiments with several display approaches. Through the appearance of contradictory materials, visitors are prompted to consider the two opposing feelings, and the artist's vision of the world is depicted through the capture of everyday life. 

My work begins by extracting formative elements that can be found in natural objects. 
It is to collect the formative beauty and aesthetical beauty of nature and reconstruct the canvas based on it. The images displayed on the screen are mainly expressed in the form of flowers or plants. For this case, the object shown in the form of a natural object is only an element used for color and formative harmony. Several flowers from a single stem are sometimes embodied as having different colors and shapes and some float the canvas without a starting point. Also, shapes unrelated to natural objects are placed in various places on the canvas and it is because the shapes on the canvas do not follow the biological structure of nature and it means that the images have their own form, not the result of imitation. Each formative element is recognized as a single piece in composing the canvas. A series of processes to approach the formative beauty by refining the shape until it has the desired shape is similar to working with a piece. The individual pieces completed at the same time act as an element again in the larger screen, serving as a small piece’s form. 

The finished pieces take the most harmonious position for the canvas composition. In this way, the process of deleting and inserting shapes until I reach the scene that I feel is the most beautiful can be said to be the process of creating a piece with a greater meaning.

Flowers and plants we encounter in our daily life are kind subjects. Many of them are immobile and stationary in their place, but they appear in various forms that accommodate changes according to the environment. I do not perceive them as fixed or complete images, but accept them as formative elements of points, lines, planes, colors, and shapes.

When I find a subject I want to collect among the forms created by natural objects, I draw on the spot. I extract the components or elements I want to be influenced by or needed for future work and bind them to my notes. At that time, I  do not bring all the forms as they are, but remove the details and collect them in a condensed form.

After that, I continue referring to the drawings in my binding and adapt the artistic senses that come from them, and I try to learn the formative aspects and the colors through this process. While repeating the process of mixing or refining the drawings collected and reinterpreted on the canvas, by accumulating harmony and order of the formative elements, I wanted to discover my own sense of aesthetics. 

After studying at Columbia University, he moved to the Bowery, joining that neighborhoods’ vibrant artistic community. It was there that he met Andy Warhol, who shot footage of him sleeping for his first film, Sleep. John Giorno’s collaborators have included William S. Burroughs, Robert Rauschenberg, Patti Smith, Philip Glass, Robert Mapplethorpe and, more recently, Elizabeth Peyton, Pierre Huyghe and Ugo Rondinone.

In 1965, Giorno founded Giorno Poetry Systems, an artists’ collective and record label, to relay poetry to a wider audience using innovative means of communication. One such innovation was Dial-A-Poem, which, since 1968, has continuously allowed access to anyone who wishes to hear poetry readings over the phone. John Giorno is also a pioneer of performance poetry, intense spoken word events performed before a live audience.
In the 1980s, Giorno begins to add a pictorial dimension to his work, creating Poem Paintings composed of words and phrases from his poems in the form of paintings, murals, drawings and screen prints.

Discovery

Exhibitions

3D On View

About

EN
$

Discovery

Exhibitions

3D On View

Galleries

About

My Page