Current Exhibitions
2026. 03. 21 - 04. 04
Young Jae 영재
Chun Hwan Kim 김춘환
Kyung Min Nam 남경민
Yoon Jong 윤종
Jinho Kee 기진호
Hee Bae 희 배
Manyoung Han 한만영
Hoyeol Ryu 류호열
Seunghyun Lim 임승현
Hyosung Bang 방효성
Eunjoo Cho 조은주
Daechul Park 박대철
Kiwoong Park 박기웅
Jaehee Byun 변재희
Jinho Kee uses the familiar motif of balloons to capture contrasting concepts such as lightness and weight, transience and permanence, all within a single canvas. His “Balloon Series” goes beyond simple visual pleasure, offering a deep reflection on life and existence. The balloons in his works are often painted in bright primary colors, taking on forms that seem to float within the canvas. These visual elements make the viewer feel as if they are in a dream, while at the same time reminding us of the uncertain fate we face in life. The round and smooth shape of the balloons gives a cheerful impression, yet they are fragile, capable of bursting at any moment. Balloons symbolizes purity and hope, but they are also ephemeral, slowly deflating and eventually disappearing over time. Through this contrast, the artist symbolically represents the dual nature of human emotions and life. The balloons that the artist paints invite us to contemplate both the fleeting nature of life and the hope embedded within it, helping us rediscover the philosophical meaning hidden in the trivialities of everyday life.
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Career history (pdf)
I majored in oriental painting and was fascinated by sumi-e (水墨) portraits. In oriental painting, the spread of ink is important, and skilled brushwork is important, but when it comes to paintings featuring people, I thought that the most important thing was the affectionate gaze toward them from the observer’s perspective. From then on, I put away all the materials I had prepared while holding the camera and posing for work, and started working again by lightly drawing the people I loved with my mind’s eye. The characters in my paintings have exaggerated expressions and childlike faces. They express the wounded egos of modern people that everyone has and that need to be protected. Having spent a long time with animals, I have come to sympathize with Mencius’s theory of human nature being good. However, when suffering and being cornered, the instinct to protect oneself, whether human or animal, also comes out. It is not easy to live while maintaining goodness in the modern materialistic society. When I draw, I always think about the role that paintings have in the world. Art is something that is not obligated or forced, but because it is not, it is also something that is easily and unnecessarily dismissed. I hope that my paintings can bring out that goodness, even though they are subtle and momentary, and I look forward to sincere communication with the viewer who discovers their own image in the paintings.
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Career history (pdf)
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In the painting, the image of light spreading out in all directions and light spreading out in a circle is engraved in the center of the canvas, hoping that their lives will become the main characters and that they will live independent and thematically healthy lives. I hope that the lives of those who appreciate the painting will also be a chance to discover through the painting that they are lives that embrace this light of hope. In the Book of Genesis in the Bible, God’s first creation was “Let there be light.” I work by thinking about the phrase meaningfully and using it as the basis for my creations. That light was not moonlight or sunlight, but the light of the source. It is the light of life, the light of love, and the light of creation, and enlightenment began here. While expressing the light of the source with 24K pure gold leaf, I created the preciousness of life and love with the unblemished, unchanging material of gold. As a sign of my will to wish for everyone’s happiness, not just my own, and to coexist, the image maintains a simple yet luxurious feel.
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Career history (pdf)
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Taking old masterpieces, ordinary images or old machine parts as figurative elements, Han has been creating works that freely move between the West and East, past and present, art and daily life, and reality and non-reality. Disparate elements clash and integrate with one another in his works,continuously transforming, through which a new world is portrayed which goes beyond the limits of time and space. The fundamental questions underlying Han's oeuvre are "time" and "space," which are specified by reproducing time and exploring the origins of space. To compare, the artist is similar to a philosopher or anthropologist who searches for "the origin of the world." Then how are these questions represented? In assemblage. Assemblage, which dominates Han's body of work, reflects a modernist way of thinking; for it can be viewed as a metaphor for modernity that is constructed by the combination of disparate fragments, unlike a holistic world or mythological world view. Meanwhile, Han Man-Young's assemblage reveals above all the artist's vision and spirit as it inscribes time inside space and also arranges or extends traces of it inside space. Here we should see assemblage as an investigation on a philosophical level beyond a formative methodology.
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2005년부터 한국, 미국, 인도를 이동하여 살면서 형성된 인식들을 드로잉과 회화가 혼용된 방식으로 표현해오고 있다. 여기에는 다양하게 해석된 개인적 나레티브를 식생(Flora & Fauna)에 투영한 추상적 회화 방식이며, 따라서 자연과 사람, 동물이 개성적 색감으로 추상화 된다. 특히, ‘인도’라는 지역의 물리적 감성이 깨우쳐 주었던 중요한 지점이 개인적으로 잠재된 회화적 무의식을 기능하게 하였고, 이것이 곧 ‘한국’적 감성으로 해석되었다. 예를 들어, 바라보는 것과 그려지는 것들의 미묘한 지점을 착각하게 하여 인도의 산수를 한국적 느낌의 오색의 띠와 같은 형상들로 표현한 것이 그것이다. 마치 하늘 구름 같고 바람 같으며 비가 쏟아지는 듯한 햇살의 이미지를 통해 작가 개인의 서사는 지역이라는 한계를 넘어서 ‘아름다움’이라는 상징으로 관객들의 집단적 정서와 만나게 된다.
Since 2005, the artist has been expressing the perceptions formed while moving between Korea, the United States, and India in a mixed way of drawing and painting. This is an abstract painting method that projects variously interpreted personal narratives onto flora and fauna, and thus nature, people, and animals are abstracted with unique colors. In particular, the important points that the physical sensibility of the region called ‘India’ awakened personally functioned as a latent pictorial unconscious, and this was soon interpreted as a ‘Korean’ sensibility. For example, the subtle points of what is seen and what is drawn are mistaken, and the Indian landscape is expressed as shapes like a five-colored band with a Korean feel. Through images of sunlight that seem like clouds in the sky, wind, and pouring rain, the artist’s personal narrative transcends the limitations of the region and meets the collective emotions of the audience as a symbol of ‘beauty.’
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Hoyeol's work is not confined to just one medium. The artist uses all possible media such as photography, video, and three-dimensional works in his art. Fundamentally, his work begins digitally from the computer. He has made three-dimensional works such as chair, car, airplane and almost everything we perceive in real life. His 3D works portray the perception of a child that has no fixed judgement, meaning, or reason. Children have a pure creative pleasure as for them everything is new and fascinating, even the seemingly very mundane things. This is the quality of Hoyeol Ryu's works where it depicts those viewpoint of a child. His works present to the viewers the new and special perception where one can see the familiar as unfamiliar and the unfamiliar as familiar. Through these creations, artist makes 'the actualization of the unreality' and 'the derealization of the reality'. He also dreams of true deconceptualization from the viewers. The artist hopes that we will discover another possibility of thinking in the images he presents which are the things we have always seen around us, and he constantly asks questions about the boundary between reality and unreality.
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Hyosung Pang has been working to expose the limitations of human existence in relation to the various constraints of reality and to record human desires or gestures to be free from these limitations as traces. For a long time, these works have experimented with whether thoughts or feelings can be transmitted between people in a spatial record-like manner such as performance, and have also used physical materials as visual media like drawings to replace logical thinking with emotional outputs, seeking the meaning of traces of a place where inner freedom is experienced. Through this, the artist attempts to communicate rational thoughts that come from within the artist not through logic but through sensory touch and gestures of drawing, by retrieving the flow of pleasant emotions that are latent in humans but seem tied up but cannot be expressed in words from the abyss world.
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Career history (pdf)
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For me, working is like standing before a mirror, endlessly examining myself. However, because of the duality of wanting to be honest yet also wanting to carefully conceal, this act of facing a mirror is not always easy. Therefore, I constantly consider metaphorical and symbolic expression. I project myself and the people around me onto the ever-changing nature of the sky and the sea, or onto objects that offer me comfort—a display case, an armchair, a bed—and whisper stories about existence. The various objects in my work, knowingly or unknowingly, contain my own stories. As I go through this gentle and somewhat delicate process of working, I find myself fully embracing my still-unfamiliar self. Life is anxious and lonely for everyone. Perhaps the paddle held in my hand in the vast ocean can temporarily relieve me of the negative emotions I inevitably harbor. I hope my paintings can provide that peace. I hope that the metaphors and symbols contained in the work will stimulate the curiosity and imagination of the viewer, allowing them to create their own narrative, and in the process, I hope that the viewer will be able to embrace themselves warmly, just as I have embraced myself.
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박기웅 작가의 작품들은 성서나 고전이 담고 있는 고대 그리고 중세, 르네상스 시대의 작품이나 소재들, 그리고 이야기들을 폭넓게 사유하여 작업의 모티브로 사용하고 있다는 점이 특이하다. 그래서 작가 작품들에서는 특수한 이야기들이 쉽게 그려지고 그것이 사람들의 눈에 친숙하게 다가올 수 있게 한다. 그리고 사용하는 묘사와 방법도 지나치게 화려하게 묘사하지 않고 절제하여, 소박하게 접근하고 있다. 그래서 오히려 담백하게 사람들의 모습들을 드러내기 떄문에 시각적인 부담을 줄이고 있다. 그래서 현시대를 살아가는 사람들에게 역사속에서 살아가는 삶이 매우 가치있는 것이며, 삶을 더 진지하게 살아가야 한다는 중요한 담론을 보여주고 있다.
The works of artist are unique in that they broadly consider works, materials, and stories from the Bible and classics from the ancient, medieval, and Renaissance periods and use them as motifs for their work. As a result, special stories are easily depicted in the artist’s works and they can approach people’s eyes in a familiar way. Also, the descriptions and methods used are not overly flashy, but rather restrained and approach in a simple way. As a result, the visual burden is reduced because the appearances of people are revealed in a simple way. Therefore, it shows an important discourse that people living in the present age should live a life that is very valuable and that they should live their lives more seriously.
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www.kiwoongpark.com
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