The artwork is a new piece by the artist, and its warm, bright yellow and ivory color, similar to that of Abang’s style, is catching people’s eyesight. The imperfect movements of girls who learning ballet for the first time are not perfect, but they do maintain their cheerful expressions of struggle and create an overall joyful mood. Her catchphrase, ‘pleasant, witty, and romantic’, expresses the artist’s desire to be remembered as colorful and warm as the season when flowers are in full bloom, despite hardship.

아투(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

Frances Ha

“Blending with TOOLS no.7” is one of the series shown in the 2022 solo exhibition <TOOLS>, which addresses the function of the artist in painting. Haeun Hong catalogues, analyses, and deconstructs the materiality that appears in the artistic process, beginning with a query regarding the effectiveness of painting. As an artist in an era of machine developments such as AI, she collects the colours and styles of paintings that fit her taste and transfers them to big data. This series is experimenting with things made by machines that are meticulously calculated and printed under specified conditions, as opposed to works that are completed randomly through uncontrollable steps. The artist attempts to communicate with the audience about the consequences of creation and the definition of the behaviour of human artists by imitating the AI process in reverse. 

Blending with TOOLS no. 7

“Blending with TOOLS no.8” is one of the series shown in the 2022 solo exhibition <TOOLS>, which addresses the function of the artist in painting. Haeun Hong catalogues, analyses, and deconstructs the materiality that appears in the artistic process, beginning with a query regarding the effectiveness of painting. As an artist in an era of machine developments such as AI, she collects the colours and styles of paintings that fit her taste and transfers them to big data. This series is experimenting with things made by machines that are meticulously calculated and printed under specified conditions, as opposed to works that are completed randomly through uncontrollable steps. The artist attempts to communicate with the audience about the consequences of creation and the definition of the behaviour of human artists by imitating the AI process in reverse. 

Blending with TOOLS no. 8

“Blending with TOOLS no.11” is one of the series shown in the 2022 solo exhibition <TOOLS>, which addresses the function of the artist in painting. Haeeun Hong catalogues, analyses, and deconstructs the materiality that appears in the artistic process, beginning with a query regarding the effectiveness of painting. As an artist in an era of machine developments such as AI, she collects the colours and styles of paintings that fit her taste and transfers them to big data. This series is experimenting with things made by machines that are meticulously calculated and printed under specified conditions, as opposed to works that are completed randomly through uncontrollable steps. The artist attempts to communicate with the audience about the consequences of creation and the definition of the behaviour of human artists by imitating the AI process in reverse. 

Blending with TOOLS no. 11

This is one of a series of experimental paintings that combine the keywords ‘night landscape’ and ‘anxiety’ to discuss the uneasiness that comes with the decision to become an artist. In his recent paintings, the artist addresses feelings of anxiousness resulting from personal experiences and social events. His work is based on photography and includes realistic arrangements, figures, and light. During the process, the narrative is erased, cropped, or partially enlarged, and the brushstrokes cover the canvas with unpredictable expressions. With the recurrence of questionable decisions and erasures, the original context of the piece is removed, leaving it with an unclear unease. The artist draws attention to the existential concern that exists on the periphery of contemporary human society by intertwining the act of painting with images of insignificant habits of daily life that are caused by anxiety. 

From the Event

This is a series of experimental paintings that merges the theme of concern with the expressive form of ambiguity, and by producing amplified, white flames in the contrast of light and darkness, as close-up through a lens. He combines the keywords ‘night landscape’ and ‘anxiety’ to discuss the uneasiness that comes with the decision to become an artist. In his recent paintings, the artist addresses feelings of anxiousness resulting from personal experiences and social events. His work is based on photography and includes realistic arrangements, figures, and light. The artist draws attention to the existential concern that exists on the periphery of contemporary human society by intertwining the act of painting with images of insignificant habits of daily life that are caused by anxiety. 

<Flame, Five Images> Series

'Stalled Walk' is one of a series of experimental paintings that combine the keywords ‘night landscape’ and ‘anxiety’ to discuss the uneasiness that comes with the decision to become an artist. In his recent paintings, the artist addresses feelings of anxiousness resulting from personal experiences and social events. His work is based on photography and includes realistic arrangements, figures, and light. During the process, the narrative is erased, cropped, or partially enlarged, and the brushstrokes cover the canvas with unpredictable expressions. With the recurrence of questionable decisions and erasures, the original context of the piece is removed, leaving it with an unclear unease. The artist draws attention to the existential concern that exists on the periphery of contemporary human society by intertwining the act of painting with images of insignificant habits of daily life that are caused by anxiety. 

Stalled Walk

Person Forced Out 2

This artwork incorporates portraiture, still life, and landscape painting, blurring the boundaries between figures and background, and coexisting with images and symbols. The artist expresses the emotions beneath ordinary situations through collage and montage. With the collision of diverse fragments, his work, which is both a self-portrait of the artist and a portrait of the current generation, mimesis the fragile social features of modern people’s bodies and minds. In the contemporary art market, where short titles have become a norm, the artist’s lengthy titles reveal his challenge to the unreasonable order of the older generation and his anxiety as a young artist, while his brushstrokes calmly summarize the issues he experiences and struggles with in his life. 

A poem talking about love and a comment of a song

At mom's garden, I am still listening the song

Since 2018, “A tree with the street lamp” has been created simultaneously with digital work as part of a series she began in 2015 to document everyday experiences. The artist converted an oil painting on paper to a digital sketch using an iPad and captured her daily experiences in a format suitable for digital working methods. Instead of emphasizing the texture of the medium of oil painting, the artist focuses on the fundamental shape of the landscape by transferring attention to the shape and color of the image. In 2019, the solo exhibition <Moving Shapes> was held at Weekend and featured these 120 series of digital drawings.  

A tree with the street lamp

“Bridge Slab” is a flat painting that the artist is constantly interested in and working on/ It is reconstructed by enlarging a portion of a civil engineering site or applying tools from the site. The artist is fascinated in the land that represents diverse human characteristics and maintains stability through various substances, such as time, rain, and snow. The floating civil engineering construction site is a place where the artist can locate personal experiences and narratives that engage with his father’s memory beyond his point as an objective observer of the structure’s form.The work illustrates the process of visualizing the artist’s self-awareness, while simultaneously unraveling records of individual identity, prior generations, and human history.  

Bridge Slab

"Sunlight" is an art experiment whose theme is a discussion of the increasing phenomena of online communication that has no hesitation about exposing one's everyday life or personal secrets. The artist conveys a message on human relationships using broadened social networks in the 21st century. The artist's unique realistic art, expressed in soft and bright colors like a camera filter had been applied, is reminiscent of a social network image that depicts an ordinary, but edited daily existence to show off. Through this way of working, the artist offers time to contemplate the modern individual's isolation resulting from virtual human ties.

Sunlight

"Summer Reminiscence" is an art experiment whose theme is a discussion of the increasing phenomena of online communication that has no hesitation about exposing one's everyday life or personal secrets. The artist conveys a message on human relationships using broadened social networks in the 21st century. The artist's unique realistic art, expressed in soft and bright colors like a camera filter had been applied, is reminiscent of a social network image that depicts an ordinary, but edited daily existence to show off. Through this way of working, the artist offers time to contemplate the modern individual's isolation resulting from virtual human ties.

Summer Reminiscence

"Quiet Breathing" is an art experiment whose theme is a discussion of the increasing phenomena of online communication that has no hesitation about exposing one's everyday life or personal secrets. The artist conveys a message on human relationships using broadened social networks in the 21st century. The artist's unique realistic art, expressed in soft and bright colors like a camera filter had been applied, is reminiscent of a social network image that depicts an ordinary, but edited daily existence to show off. Through this way of working, the artist offers time to contemplate the modern individual's isolation resulting from virtual human ties.

Quiet Breathing

"Golden Reminiscences" is an art experiment whose theme is a discussion of the increasing phenomena of online communication that has no hesitation about exposing one's everyday life or personal secrets. The artist conveys a message on human relationships using broadened social networks in the 21st century. The artist's unique realistic art, expressed in soft and bright colors like a camera filter had been applied, is reminiscent of a social network image that depicts an ordinary, but edited daily existence to show off. Through this way of working, the artist offers time to contemplate the modern individual's isolation resulting from virtual human ties.

Golden Reminiscences

Bac Jungwon is an artist who continually captures and reflects on extraordinary moments found within repetitive daily life through her paintings. She frequently paints watercolors focusing on the theme of 'withering flower vases', capturing the ephemeral moment when a perfectly poised flower starts to lose its original color and vitality. Beyond a simple still life, this imagery becomes a metaphor for the frailty of human life. Following the painter's destiny of capturing fleeting moments, she becomes an observer of everyday life and documents this process. 'Lonely flower' serves as a continuation of these works, narrating the tale of a flower that, while graceful, is in its most grotesque stage as it withers. Park captures the frail, twisted shape of the flower, reminiscent of thin, long fingers, and the faded hue of its petals on a large canvas, exaggerating and boldly representing it. She pours, rubs, wipes, and scrapes paint on the canvas, utilizing a technique that conveys the beauty and simultaneous dread of the notion of death.

Lonely flower

"Old School – Rodin" by Yunseob Kim is a part of his series 'Old School'. This meta-critical painting began with a critical awareness of exhibition design art and the prevalent ideological, conceptual, and methodological art in the contemporary art market. He criticizes postmodernism, which is separated and conceptualized and replaces all art genres with attempts, and first-generation modernists, the starting point, and presents works that are reproduced and studded in the way they sought to destroy academism. Beyond the artist's lengthy devotion to flat painting through his diverse body of work, he forges his own route as a modern image creator, posing issues about the present location of modern art. 

Old school - Rodin

Abang is regarded as one of the most famous artists for her unique and romantic depiction of us enjoying the modern day, which she achieves by using vibrant colours to reveal the mysterious line between daily life and the non-daily. After receiving a master's degree in illustration from London's Kingston University, she began to paint free-living individuals in vivid colours. Based on the catchphrase “Fun, Witty, and Romantic”, she is currently operating her own brand of design products called “My Real Abang,” including graphics for numerous periodicals, webzines, and album covers. Abang explores “things that keep my life rich, free, sexy and warm” throughout her works, and is actively collaborating with worldwide brands such as Spotify and Valentino, as well as broadcasting, product, and fashion firms to develop an 'Abang-like' style. 

Contemporary

Haeun Hong has continued to record, analyse, and decompose colours, images, techniques as materials, the body's movement to paint, and the materiality of the outcomes. She received a bachelor's degree in Fine Arts from Hongik University, a master's degree in Fine Arts from the same graduate institution. For her, who found great delight in discovering immersion and beauty when observing nature and transitioning it to paintings, life is described as a perpetual process of discovering its beauty. As an artist, she sees her fate as collecting shapes and colours and transforming them into paintings. She wishes to cover the manner in which contemporary people consume and generate images, as well as the materialisation of screen images through the body. Haeun Hong expresses the materiality of painting that the artist examines through the process of drawing on paper, cutting it, and placing it with scissors, which is a distinctive method of artistic production. 

Kyukun Kang depicts the narrative in the uncertainty of daily life, which consists of light and darkness. After completing a bachelor's degree in Western painting at Gachon University and a master's degree in Western painting at Sungkyunkwan University, he has continued to draw unpredictable scenarios on canvas. His work, which reflects ordinary daily life and characters, includes clear contrary between light and shadow. Through an anxious, dreamy, and melancholy atmosphere, the artist takes the audience into their inherent stories. As a beginning point for his paintings he uses people's unstable features exposed to an unpredictable future, thereby inspiring people's imagination of events that would occur after the scene. 

Diverse and heterogeneous fragments coexist in Man Seop Kim's works. He studied Western painting at Mokwon University, earned a master's degree in Western painting from the same graduate school, and is actively using collages or montage techniques in his works. The images and symbols of his works are based on his daily experiences. He generates tension by capturing the moments when conflicting emotions, such as happiness and sorrow, love and anger, collide. The artist mimesis the coexistence of various beings in modern society through the confrontation and harmony that occur in the creation of works. 

Minji Ryu recalls the emotions she experienced while observing the landscape in her daily life and investigates the manner in which gathered images are displayed in paintings. As a graduate of the Department of Fine Arts at Seoul National University of Science and Technology, she acknowledged the inevitable gap between the experience of gazing at reality and drawing it and took a moment to recognize the landscape that was shared through abstraction and conceptualization. Her paintings focus on the experience of seeing and reproduce the impression produced by substituting an object for a function consisting of light and darkness as a physical image. In this manner, the artist hopes that paintings will serve as a channel for evoking past experiences in the minds of the audience, so reviving their perspective on current life. 

Sanggyun Lee is an artist who maintains a continuous interest in civil engineering structures through field research, converting three-dimensional architecture and spaces into two-dimensional paintings. Memories of his father, who worked in civil engineering during his childhood, have greatly influenced his work, serving as a crucial link in his art.

The images of structures that appear in his work are abstracted through a process of reduction to a consistent compositional framework. He believes that, among the spaces humans inhabit, the land particularly represents various aspects of humanity. Capturing the longstanding human desire for urbanization and the pursuit of subjectivity and spatiality, he simultaneously embodies the role of an observer, depicting the immobility of civil engineering construction sites. He applies construction tools such as trowels, plastering knives, and ink lines to his paintings, creating them with a constructive attitude.

In 2022, he was selected as an artist-in-residence at the Paris Lee Ungno Residence, where he worked to document his artistic identity and discover the human narratives of previous generations. During this period, he participated in various international exhibitions, expanded his artistic perspective through interactions with artists worldwide, and drew inspiration from the unique culture and historical background of Paris, adding depth to his work. This experience significantly contributed to his artistic growth, which is clearly evident in his subsequent works. Currently, he continues to create new works based on these experiences, pursuing his artistic exploration.

Goyona Jung is interested in the contemporary demand for exposure on social networks and image formation in human relationships via the Internet. She attempted to collaborate with media and painting after graduating from Hongik University with a degree in Painting. She worked in Korea as “Live Cam Painting”, which offers not only personal daily memories but also other people's daily lives in real time with the audience, and she has expanded her activities abroad to include a number of exhibitions. Through her works, the artist conveys a message about the issues of modern society and raises questions about the gap between modern people's loneliness and their edited daily lives. 

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.

Yunseob Kim has experimented with a new methodology for creating flat images using diverse mediums, including drawing, painting, and animation. Since he majored in animation at Kongju University and maintained an interest in cartoons, he is allowed to create paintings that deviate from traditional genres like drawing and sculptures. In 2007, he began utilizing self-portraits, hand drawings, and cup drawings in his paintings and videos. He also worked in drawing, text, installation, and video in 2011. In addition, since 2014, the artist has delivered private narratives to the audience in a variety of techniques and subjects, including the “Hell” series, which focuses on digital physical properties experiments and the investigation of moving images. The artist is constructing his own universe by discussing the definition of time, events, visions, beings, and devildom as well as posing problems regarding the identity of modern painting in art history.

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