UNTITLED-P1203 -  Sangrim  Ha

Sangrim Ha UNTITLED-P1203
Sang Rim Ha displays images of flowers and leaves through substantive experience of life and death. Ha would crouch low in order to get close to the leaves for a close-up shot and the contours of the plant would later be carefully transplanted on a canvas for a full display on a flat screen. Ha also paints over tapes with varying thickness and then removes the tapes to show depth in line and colors. This laborious process reflects Ha’s desire for self-reflection through the anonymous subjects drawn with simplistic lines. The intersecting and overlapping layers of images create a feeling of space that giveviewers the impression that he or she is viewing a landscape through Ha’s flexible and sharp line drawing. The artworks can be simplified into lines and background that create a stark contrast and deliver rich and deep colors. The “Leaves” series reflects Ha’s humble belief that the vividness of life begins from the ground up and portrays the vitality of the plant as mirroring our own lives.

 The Road to Venezia - Dukki Kim

Dukki Kim The Road to Venezia
Dukki Kim transmits positive energy through his free-flowing line drawing that makes use of indian ink and exquisite Korean colors. Kim finds happiness from the daily lives of families and allows viewers to appreciate the little things in life. Void of sadness, his artworks contain no shadows and instead, portrays houses that are completely transparent from the outside. In addition, all characters inside his works including people, flowers, and animals are all paired up in a joyful manner. His earlier “Garden” series consisted of simple houses that were beautifully constructed with flowery gardens. His more recent series such as “Road to Venice” and “New York Central Park: Scenery with Cardinals” contain more specific locations but still contain happy images of father-son, mother-daughter, dogs and little birds. Using pointillism, the mountains, sky, and sea are filled with colorful dots of acryl. Kim’s rich use of colors illuminates the painting in the direction of the light. Overall, Kim’s works embodies his simple but passionate message that anyone can be as happy as the characters inside the canvas.

Wonderful day -  Kyung Min  KIM

Kyung Min KIM Wonderful day

UNTITLED-COP1226 -  Sangrim  Ha

Sangrim Ha UNTITLED-COP1226
Sang Rim Ha displays images of flowers and leaves through substantive experience of life and death. Ha would crouch low in order to get close to the leaves for a close-up shot and the contours of the plant would later be carefully transplanted on a canvas for a full display on a flat screen. Ha also paints over tapes with varying thickness and then removes the tapes to show depth in line and colors. This laborious process reflects Ha’s desire for self-reflection through the anonymous subjects drawn with simplistic lines. The intersecting and overlapping layers of images create a feeling of space that giveviewers the impression that he or she is viewing a landscape through Ha’s flexible and sharp line drawing. The artworks can be simplified into lines and background that create a stark contrast and deliver rich and deep colors. The “Leaves” series reflects Ha’s humble belief that the vividness of life begins from the ground up and portrays the vitality of the plant as mirroring our own lives.

Migrants -  Bong Chae     Son

Bong Chae Son Migrants
Bong Chae Son became a renown star artist in the late nineties when his giant kinetic art brought public attention and led to his invitation to Gwangju Biennale. Son has established himself as an avant-garde artist mainly through his 3-D painting (panel painting) and other various genres including installation art and performances. His works are often full of passion and has an overarching message targeting social issues. More recently, his works have evolved by adding a deeper internal dimension that contains a soft and metaphorical meaning. “Migrants” series, which convey a sense of sympathy for those who lead nomadic lifestyles due to industrialization, first began from his sincere affection for these victims. Using a clear polycarbonate background, Son paints, with a thin brush, trees, clouds and fog in a way that the 5 panels do not overlap with one another. The trees covered by the clouds and the dreamy effect given to the scenery by the LED light completes a landscape painting similar to that of ink on rice paper. Having himself experienced a migrant period during his time studying abroad, Son and his works represent the life of a modern man who roam around in foreign places without truly settling. Son’s art strikes an ideal balance between Oriental aesthetics and modern acumen.

Migrants -  Bong Chae     Son

Bong Chae Son Migrants
Bong Chae Son became a renown star artist in the late nineties when his giant kinetic art brought public attention and led to his invitation to Gwangju Biennale. Son has established himself as an avant-garde artist mainly through his 3-D painting (panel painting) and other various genres including installation art and performances. His works are often full of passion and has an overarching message targeting social issues. More recently, his works have evolved by adding a deeper internal dimension that contains a soft and metaphorical meaning. “Migrants” series, which convey a sense of sympathy for those who lead nomadic lifestyles due to industrialization, first began from his sincere affection for these victims. Using a clear polycarbonate background, Son paints, with a thin brush, trees, clouds and fog in a way that the 5 panels do not overlap with one another. The trees covered by the clouds and the dreamy effect given to the scenery by the LED light completes a landscape painting similar to that of ink on rice paper. Having himself experienced a migrant period during his time studying abroad, Son and his works represent the life of a modern man who roam around in foreign places without truly settling. Son’s art strikes an ideal balance between Oriental aesthetics and modern acumen.

Migrants -  Bong Chae     Son

Bong Chae Son Migrants
Bong Chae Son became a renown star artist in the late nineties when his giant kinetic art brought public attention and led to his invitation to Gwangju Biennale. Son has established himself as an avant-garde artist mainly through his 3-D painting (panel painting) and other various genres including installation art and performances. His works are often full of passion and has an overarching message targeting social issues. More recently, his works have evolved by adding a deeper internal dimension that contains a soft and metaphorical meaning. “Migrants” series, which convey a sense of sympathy for those who lead nomadic lifestyles due to industrialization, first began from his sincere affection for these victims. Using a clear polycarbonate background, Son paints, with a thin brush, trees, clouds and fog in a way that the 5 panels do not overlap with one another. The trees covered by the clouds and the dreamy effect given to the scenery by the LED light completes a landscape painting similar to that of ink on rice paper. Having himself experienced a migrant period during his time studying abroad, Son and his works represent the life of a modern man who roam around in foreign places without truly settling. Son’s art strikes an ideal balance between Oriental aesthetics and modern acumen.

Persons - Sangbin  IM

Sangbin IM Persons
Sangbin Im completes his images as a digital collage by selecting from a data archive containing subjects and landscapes photographed at various angles. The artwork displays a unique malerisch sentiment that reflects on nature and the city, tradition and the present, painting and photograph, analog and digital, lie and truth, and abstract and reality. His works fragment and re-establish original images to create exaggeration and distortion by using digital mediums that have expanded and stimulated human desire. While the works appear to contain familiar landscapes, Im brilliantly integrates individual stories with discordant realities to reflect an age today where art, technology, and culture are intersecting. The works are divided into two or three panels in order to connote the relationship and divisibility of the recreated images. The urban landscape that Im portrays is not merely a single place but is fragmented and reproduced into an image that parallels the exaggerated desires and frustration facing people today. The general theme across his works suggest that Im’s main focus is in capitalistic landscape, media, culture and the digital language.

Central Park - Scenery with Cardinals - Dukki Kim

Dukki Kim Central Park - Scenery with Cardinals
Dukki Kim transmits positive energy through his free-flowing line drawing that makes use of indian ink and exquisite Korean colors. Kim finds happiness from the daily lives of families and allows viewers to appreciate the little things in life. Void of sadness, his artworks contain no shadows and instead, portrays houses that are completely transparent from the outside. In addition, all characters inside his works including people, flowers, and animals are all paired up in a joyful manner. His earlier “Garden” series consisted of simple houses that were beautifully constructed with flowery gardens. His more recent series such as “Road to Venice” and “New York Central Park: Scenery with Cardinals” contain more specific locations but still contain happy images of father-son, mother-daughter, dogs and little birds. Using pointillism, the mountains, sky, and sea are filled with colorful dots of acryl. Kim’s rich use of colors illuminates the painting in the direction of the light. Overall, Kim’s works embodies his simple but passionate message that anyone can be as happy as the characters inside the canvas.

 Sea-Land 1 - Sangbin  IM

Sangbin IM Sea-Land 1
Sangbin Im completes his images as a digital collage by selecting from a data archive containing subjects and landscapes photographed at various angles. The artwork displays a unique malerisch sentiment that reflects on nature and the city, tradition and the present, painting and photograph, analog and digital, lie and truth, and abstract and reality. His works fragment and re-establish original images to create exaggeration and distortion by using digital mediums that have expanded and stimulated human desire. While the works appear to contain familiar landscapes, Im brilliantly integrates individual stories with discordant realities to reflect an age today where art, technology, and culture are intersecting. The works are divided into two or three panels in order to connote the relationship and divisibility of the recreated images. The urban landscape that Im portrays is not merely a single place but is fragmented and reproduced into an image that parallels the exaggerated desires and frustration facing people today. The general theme across his works suggest that Im’s main focus is in capitalistic landscape, media, culture and the digital language.

Karma 9-40 -   Young Wook  Choi

Young Wook Choi Karma 9-40
Taking inspiration from the moon jars of the Joseon, Choi Youngwook expresses the memory and story of our unadorned life in his unique calm and soft manner. By exploring a moon jar’s simplistic yet infinitely malleable quality, Choi aims tofind harmony between the past and the present, and the others and “I.” Choi begins byusing a fine brush to sketch the three-dimensional moon jar onto a two-dimensional canvas. He then undergoes a laborious process of applying a special mixture of paint, stone powder and gesso over and over again until the painting is rendered into the likes of a brightly shining moon. The surface of the jar is completed with engraving marks, stains, and other irregularities which can be seen as the traces of time. The crackled seams of the jar’s surface converge and diverge as though speaking of the vagaries, the joys, and the sorrows of life.

Karma 8-44 -   Young Wook  Choi

Young Wook Choi Karma 8-44
Taking inspiration from the moon jars of the Joseon, Choi Youngwook expresses the memory and story of our unadorned life in his unique calm and soft manner. By exploring a moon jar’s simplistic yet infinitely malleable quality, Choi aims tofind harmony between the past and the present, and the others and “I.” Choi begins byusing a fine brush to sketch the three-dimensional moon jar onto a two-dimensional canvas. He then undergoes a laborious process of applying a special mixture of paint, stone powder and gesso over and over again until the painting is rendered into the likes of a brightly shining moon. The surface of the jar is completed with engraving marks, stains, and other irregularities which can be seen as the traces of time. The crackled seams of the jar’s surface converge and diverge as though speaking of the vagaries, the joys, and the sorrows of life.

g.01 - Seong Youn  Koo

Seong Youn Koo g.01

Mirage #4_Silk Road   -  Myoung Ho  Lee

Myoung Ho Lee Mirage #4_Silk Road
2012
Ink on Paper
119 x 185cm

Exhibiting Artists

  • Young Wook Choi  (+)

    Biography : ■ Education 2000 M.F.A. Hong Ik University, Seoul, Korea 1991 B.F.A. Hong Ik University, Seoul, Korea

    Exhibition : ■ Selected Solo Exhibitions
    2016 Wishing Upon a Moon, Soul Art Space, Busan, Korea
    Korea Biseonjae, Seoul, Korea
    2015 Pyo Gallery, Seoul, Korea Jun Gallery, Daegu, Korea
    2013 Soul Art Space, Busan, Korea Gallery a-cube, Tokyo, Japan
    2012 Art issue projects, Taipei, Taiwan Seojoungwook Gallery, Seoul, Korea
    Sun Contemporary, Seoul, Korea
    2011 Mugaksa lotus gallery, Gwangju, Korea
    Versace aki, Seoul, Korea
    Yegam Gallery, New York, USA
    2010 Gaga Gallery, Seoul, Korea
    Gong Gallery, Seoul, Korea
    2009 ArtGate Gallery, New York, USA
    2007 Woori Bank Kang Nam Gallery, Soop Gallery, Seoul, Korea
    ANNEX Convention Center, Fukuoka, Japan
    2006 ONO Gallery, Tokyo, Japan
    2004 Seoul Art Gallery, Seoul, Korea

    ■ Selected Group Exhibitions and Projects
    2016 Include Hope, Superior gallery, Seoul, Korea
    2015 The way to infinity, Ritz-Carlton gallery, Seoul, Korea
    The frame of seoul, 63 Art Museum, Seoul, Korea
    Self Fiction Seoul&Japan, KEPCO Art Center, Seoul, Korea
    ROOM, Gallery HUUE, Singapore, Singapore
    Innumerable:ceramics in a picture, Woljeon Museum of Art Icheon,
    Icheon, Korea
    2014 Wind Blows, G gallery, Songdo, Korea
    Space Curve, JJ Joong Jung gallery, Seoul, Korea
    Cultural Code, Springs Center of Art, Beijing, China
    K-P.O.P–Process, Otherness, Play, Museum of Contemporary Art Taipei,
    Taipei, Taiwan
    2013 The Sounds of Korea, EmbassyoftheRepublicof Korea in China, Beijing,
    China
    Correspondence, BRIDGE GALLERY, Seoul, Korea
    Red gate, Gallery Hogam, Seoul, Korea
    A scene from a memory, Odeto art, Singapore, Singapore
    2012 Love traces-story of life, Gallery Maum, New York, USA
    Korean Zone – Mind shadowing into Things, MIA Gallery, Beijing, China
    Studio Akka Group Exhibition, Studio Ak

    Detailed Description : Taking inspiration from the moon jars of the Joseon Dynasty, Choi Youngwook expresses the memory and story of our unadorned life in his unique calm and soft manner. By exploring a moon jar’s simplistic yet infinitely malleable quality, Choi aims tofind harmony between the past and the present, and the others and “I.” Choi begins byusing a fine brush to sketch the three-dimensional moon jar onto a two-dimensional canvas. He then undergoes a laborious process of applying a special mixture of paint, stone powder and gesso over and over again until the painting is rendered into the likes of a brightly shining moon. The surface of the jar is completed with engraving marks, stains, and other irregularities which can be seen as the traces of time. The crackled seams of the jar’s surface converge and diverge as though speaking of the vagaries, the joys, and the sorrows of life. Youngwook Choi completed his Undergraduate and Masters degree in fine arts at Hong-Ik University. He has had over 20 solo exhibitions abroad and in South Korea, and has been invited to numerous group exhibitions and international art fairs. A few years ago, his work was added to the acclaimed collection of the Bill and Melinda Gates Foundation putting spotlight on his works. Carrying both a Korean and Western style, his work was featuredon the album cover for South Korean sopranoSumi Jo. His works are also part of other international collections such as the Spanish Monarchy, Luxembourg Monarchy, the Philadelphia Museum and many more.

    Artist's Objects:

    •   Young Wook  Choi - Karma 8-44 Karma 8-44
    •   Young Wook  Choi - Karma 9-40 Karma 9-40

    Also exhibited by:

    Also represented by:

  • Sangrim Ha  (+)

    Biography : ▪Education Graduated from 「Fachhochschüle Kunst und Design. Köln」(Meisterschüler) Köln, Germany Graduated from the Dept. of Painting, Hong Ik University, Seoul, Korea

    Exhibition : ▪Selected Solo Exhibition
    2015 GANA ART GALLERY BUSAN, Busan, Korea
    2012 Zeit-Foto, Tokyo, Japan
    2012 Gallery IHN, Seoul, Korea
    2010 Gallery 2, Seoul, Korea
    2007 Gallery IHN, Seoul, Korea
    2005 Gallery IHN, Seoul, Korea
    2002 Gallery IHN, Seoul, Korea

    ▪Selected Group Exhibition
    2014 Before Becoming Renowned, Gallrty MANO, Seoul, Korea
    2012 Senses of Leaves, Gallery Zandari, Seoul, Korea
    Power of Inner Mind, Soul Art Space, Busan, Korea
    2011 KIAF 2011, COEX, Seoul, Korea
    2010 Korea Galleries Art Fair, Seoul, Korea
    2010 Aesthetics of Beauty, Interalia, Seoul, Korea
    2010 Floating Petals, Shinsegae Gallery, Seoul, Busan & Gwangju, Korea
    2009 Yoo Art Space 6th anniversary, Yoo Art Space, Seoul, Korea
    Contemporary Art-Alpha and Omega, Gallery Aka Space, Seoul, Korea 2008 THE ch ART, Gana Art Center, Seoul, Korea
    Korea Galleries Art Fair, BEXCO, Busan, Korea
    ASIA Top Gallery Hotel Art Fair, Hotel New Otani, Tokyo, Japan
    2007 Flower-about its Beauty, Aram Art Gallery, Goyang Aram Nuri Arts
    Center, Goyang, Korea

    Detailed Description : Sang Rim Ha displays images of flowers and leaves through substantive experience of life and death. Ha would crouch low in order to get close to the leaves for a close-up shot and the contours of the plant would later be carefully transplanted on a canvas for a full display on a flat screen. Ha also paints over tapes with varying thickness and then removes the tapes to show depth in line and colors. This laborious process reflects Ha’s desire for self-reflection through the anonymous subjects drawn with simplistic lines. The intersecting and overlapping layers of images create a feeling of space that giveviewers the impression that he or she is viewing a landscape through Ha’s flexible and sharp line drawing. The artworks can be simplified into lines and background that create a stark contrast and deliver rich and deep colors. The “Leaves” series reflects Ha’s humble belief that the vividness of life begins from the ground up and portrays the vitality of the plant as mirroring our own lives. Sang Rim Ha graduated from Hongik University where he studied western art. He received a Masters in painting at Germany’s Koln Art University. He has had over 20 solo exhibitions and has been invited to numerous group exhibitions.His works are part of various collections such as Korean National Museum of Modern Art, Seoul City Museum, Seong-Gok Museum, United Nations European Headquarters, and the Korean Embassies in Sweden, US and Spain.

    Artist's Objects:

    •  Sangrim  Ha - UNTITLED-P1203 UNTITLED-P1203
    •  Sangrim  Ha - UNTITLED-COP1226 UNTITLED-COP1226

    Also exhibited by:

    Also represented by:

  • Sangbin IM  (+)

    Biography : ▪Education 2011 Doctor of Education(art & art education), Teachers College, Columbia University, New York, USA 2005 M.F.A.(painting & printmaking), School of Art, Yale University, New Haven, USA(Fulbright Award for Graduate Study in the United States) 2001 B.F.A.(western painting), College of Fine Arts, Seoul National University, Seoul, Korea

    Exhibition : ▪Solo Exhibition
    2016 RYAN LEE Gallery, Sangbin IM: Collection, New York, USA
    2015 Soul Art Space, Sangbin IM: Mapping, Busan, Korea
    2014 Soul Art Space, Antarctica, Busan, Korea
    2013 Ryan Lee Gallery, Sangbin IM: Spectacle, New York, USA
    2012 Soul Art Space, In the City, Busan, Korea
    2010 Mary Ryan Gallery, Sangbin IM: Confluence, New York, USA PKM Trinity
    Gallery, Sangbin IM: Encounter, Seoul, Korea
    2008 Gallery Sun Contemporary, Sangbin IM: Recent Works, Seoul, Korea
    L2kontemporary Gallery, Sangbin IM: Recent Work, LA, USA
    Walter Randel Gallery, Recent Works, New York, USA
    2007 Miki Wick Kim Contemporary Art, Sangbin IM, Zurich, Switzerland
    Janet Oh Gallery, Dreamscape, Seoul, Korea
    2006 Cristinerose Gallery, Sangbin IM Photographs, New York, USA
    Gana Art Center, Sangbin IM & NEWSCAPE, Seoul, Korea
    2005 Zone Chelsea Center for the Arts, Body | City | History, New York, USA 2001 Gallery People, Analogital, Seoul, Korea

    ▪Two Persons Exhibition
    2008 MeatMarket Gallery, Naturing, Washington DC, USA
    2003 Sungkok Art Museum, Hybrid, Seoul, Korea
    2002 Gallery Sun & Moon, Hybrid Scape, Seoul, Korea
    Indeco Cafe Gallery, The Body Trace, Seoul, Korea
    Gallery Boda, Scanned Land, Seoul, Korea

    ▪Selected Group Exhibition
    2016 K Museum of Contemporary Art, Lobbyist, Seoul, Korea
    Daegu Culture and Arts Center, Daegu Photo Biennale
    2016 We are from somewhere, but where are we going?, Daegu, Korea
    2015 Museum of Art Seoul National University, Sublime Masochism, Seoul,
    Korea
    2014 Gyeonggi Museum of Modern Art, Cross Genre, Ansan City, Korea
    Museum of Sungshin University, Perceving a human Touch, Seoul, Korea
    Museo Amalia Lacroze de Fortabat, Simultaneous Echoes, Buenos Aires,
    Argentina
    Hong Kong Convention and Exhibition Centre, Art Basel-Hong Kong, Hong
    Kong, China
    2

    Detailed Description : Sangbin Im completes his images as a digital collage by selecting from a data archive containing subjects and landscapes photographed at various angles. The artwork displays a unique malerisch sentiment that reflects on nature and the city, tradition and the present, painting and photograph, analog and digital, lie and truth, and abstract and reality. His works fragment and re-establish original images to create exaggeration and distortion by using digital mediums that have expanded and stimulated human desire. While the works appear to contain familiar landscapes, Im brilliantly integrates individual stories with discordant realities to reflect an age today where art, technology, and culture are intersecting. The works are divided into two or three panels in order to connote the relationship and divisibility of the recreated images. The urban landscape that Im portrays is not merely a single place but is fragmented and reproduced into an image that parallels the exaggerated desires and frustration facing people today. The general theme across his works suggest that Im’s main focus is in capitalistic landscape, media, culture and the digital language. Sangbin Im studied western arts at Seoul National University and completed a Masters Degree in painting and printing at Yale University. He also received a Ph.D. in art education at Columbia University. He has held private exhibitions in Korea, the US and Switzerland. In addition, he has been invited to numerous group exhibitions and biennales at Argentina, Spain, Hong Kong, and Taiwan. His works are part of various renown collections such as Korean National Museum of Modern Art, North Carolina Museum of Art, Jule Collins Smith Museum of Fine Art, Artium Museum, and Deutsche Bank Kunst Halle. Im is currently a professor at Sungshin University.

    Artist's Objects:

    • Sangbin  IM -  Sea-Land 1 Sea-Land 1
    • Sangbin  IM - Persons Persons

    Also exhibited by:

    Also represented by:

  • Kim, Dukki  (+)

    Biography : ■ Education 1993 Graduated from Department of Oriental Painting in Seoul National University, Seoul, Korea

    Exhibition : ■ Selected Solo Exhibitions
    2017 ‘SeMA Collection: Family Story 展, Geumnarae Art Hall, Seoul, Korea
    2016 The Road to Venezia, Soul Art Space, Busan, Korea
    5 Seasons: Ta-da! Here for Flowers, Gallery Joeun, Seoul, Korea
    2015 The Road to Amalfi Coast, Soul Art Space, Busan, Korea
    Sweet Home, Ulsan Bukgu Culture Art Center, Ulsan, Korea
    2014 Through the Tangerine Trees, Soul Art Space, Busan, Korea
    2013 Small Dream & Artworks, Gallery Rho, Seoul, Korea
    A Beautiful Landscape, Daum Communications SPACE.1, Jeju, Korea
    The Road to Happy Village, Soul Art Space, Busan, Korea
    2012 Under the Sun, Gallery Rho, Seoul, Korea
    2011 Beyond the Winter’s Cold, LOTTE Gallery, Seoul, Korea
    On Paper, Urban ART, Seoul, Korea
    The Sound of Smile in the Sky, Soul Art Space, Busan, Korea
    2010 My Home, Gallery HYUNDAI Gangnam Space, Seoul, Korea
    2008 My Sweet Home, Gallery HYUNDAI Gangnam Space, Seoul, Korea
    2007 My Sweet Family, Gallery H, Seoul, Korea
    Kim, Dukki and Ceramic – Ceramic House, Hanhyanglim Gallery, Paju, Korea
    2006 Rainbow, Leehwaik Gallery, Seoul, Korea
    2005 A Picnic, Kyung-in Art Museum, Seoul
    Happy Days, Asiana Lounge – Incheon International Airport, Incheon, Korea
    2004 Window Gallery, Gallery HYUNDAI, Seoul, Korea
    2003 My Favorites!, POSCO Gallery, Pohang, Korea
    2002 Three Trees, POSCO Art Museum, Seoul, Korea
    2001 Family Diary: Faith and Love, Gallery Savina, Seoul, Korea
    2000 In my mind, Cafe Art Side Gallery, Seoul, Korea
    1999 Family in Participation of MANIF5!99, Seoul Art Center, Seoul International Art Fair, Seoul, Korea
    1998 Time and Tide Life, Age, Duk-Won Art Gallery, Seoul, Korea

    ■ Selected Group Exhibitions and Projects
    2016 秀.絀.(Exportation) KOTRA Art Collaboration, Seoul, Korea
    2015 Dokdo, Island of Five Senses, Korea University Museum, Seoul, Korea
    KIAF 2015, COEX, Soul Art space, Seoul, Korea
    Spring, Summer, Fall, Walking through the winter, Seoul Museum of Art, Seoul, Ko

    Detailed Description : The scenes Dukki Kim depicts are fantastic and fairytale-like, but the landscapes of colors stem from the heart of one who has experienced change in nature and encapsulated this in his eyes and mind. Although Kim portrays restricted objects made up of his own specific motifs, he tries to present dreamy images intact, conveying the beauty of ever-changing colors in nature. Constantly marked by his main use of dots and patterns, in a sense, his paintings are completed through impromptu brushwork. What stands out the most in his works is the presence of rapid brushstrokes amid images such as flowers, leaves, and stems. This aspect is reminiscent of an expressionist style. A shift in his manner from applying dots one-by-one to taking the lead in rendering a scene with audacious touches refers to his more aggressive exploration of pictorial strata. ”Who can dare deny the saying that “the most beautiful word in the world is ‘love’ while the most precious one is ‘family’”? The artist probably felt that all the landscapes he viewed were beautiful because he was there with his family. His works seem to say that we can feel more pleasure when sharing things with others. Only with this can we figure out where the “codes of happiness” he enjoys have been derived from.

    Artist's Objects:

    • Dukki Kim -  The Road to Venezia The Road to Venezia
    • Dukki Kim - Central Park - Scenery with Cardinals Central Park - Scenery with Cardinals

    Also exhibited by:

    Also represented by:

  • Kyung Min KIM  (+)

    Biography : ▪Education 2010 Completing Ph.D, Hongik university, Seoul, Korea 1997 M.F.A, graduate school of Sungshin university, Seoul, Korea 1995 Majored in sculpture Sungshin in women's university, Seoul, Korea

    Exhibition : ▪Selected Solo Exhibition 2016 Y&C company, Taiwan 101 Gallery, Taipei, Taiwan Happy memoryies, Gallery AG, Seoul, Korea 2015 Art space H, Seoul, Korea 2014 Gallery by the barbour, Hongkong Mir Gallery, Pohang, Korea 2011 Life story, Sun contemporary, Seoul, Korea What a beautiful day, Gallery royal, Seoul, Korea 2010 International contemporary art exchange, Beijing, China 2009 KCAF, Seoul art center, Seoul, Korea N Gallery, Seongnam, Korea Pleasure, lively sculpture, Nowon art center, Seoul, Korea 2008 Songadang Gallery, Deagu, Korea Sun Gallery, Seoul, Korea 2007 Songhwadang Gallery, Deagu, Korea Arbazaar, Busan, Korea Kepco art center, Seoul, Korea 2006 Kim kyungmin sculpture exhibition, Gallery lamer, Seoul, Korea Art expo in yongin, Yongin, Korea 2005 Osaka, Japan 2004 Manif solo exhibition, Seoul art center, Seoul, Korea

    ▪Selected Group Exhibition 2016 World art dubai-dubai, Dubai, Arab Emirates Valentine's day special exhibition "Be My Love", Lotte Gallery/ Avenuel art hall, Seoul, Korea Our face-DMC festival 2016 special exhibition, Sangam MBC, Seoul, Korea Soul Art Space 11th anniversary “An Eye for Art”, Busan, Korea Cheongchuneoram, Gallery onyou, Anyang, Korea Art busan, BEXCO, Busan, Korea Mapo art center, Seoul, Korea Gallery superior, Seoul, Korea Open art fair, COEX, Seoul, Korea Hyundai department, Seoul, Korea 2015 "Art, in the book“ Kyobo art space open exhibition, Kyobo art space, Seoul, Korea To my family, Ulsan modern museum, Ulsan, Korea
    Sungshin woman's university society 50th exhibition, Ara art center, Seoul, Korea Time of familly, Jeju museum of art, Jeju, Korea Forest of dream dream Gallery, Seoul, Korea Family, Gallery imazoo, Seoul, Korea Art n life show, COEX, Seoul, Korea Figurative sculpture, Hyundai namyang lab, Hwaseong, Korea 2014 Feel the fragrance of love, The museum of Sunghsin woman's university, Seoul, Korea Sisters of mary ggumnamu village-Lara's festival, Kitc

    Detailed Description : My work can be understood in the category of the commonplace (Allteglichkeit). The themes of my works comprise content that contemporaries easily sympathize with. They are the stories we might have experienced once in a lifetime as well as things we may do and feel in ordinary life. In my work, disconnection between art and ordinary life virtually does not exist. Because subjects and situations in my work are what we do as habits and unconscious actions, when viewers appreciate my work, the use of certain discourses or theories is meaningless. What is required in appreciating my art work is not a certain theory or reflective, artistic attitude but an attitude that does not filter reflection or prejudice. My work should be seen as casually as possible. However this does not mean contemplation, but that they should just be perceived instinctively. Therefore my works don’t require deep thought and reflection but a sharing of the artist’s point of view of the subjects that present the works and ordinary spoken stories. My works don’t intend or force social change but they can lead to some changes in consequence. This may be possible from merely getting rid of certain prejudices, distorted gazes, or ideological perspectives

    Artist's Objects:

    •  Kyung Min  KIM - Wonderful day Wonderful day

    Also exhibited by:

    Also represented by:

  • Seong Youn Koo  (+)

    Biography : ▪ Education 1997 BFA. Dept. of Photography, Seoul Institute of the Arts 1994 BA. Dept. of Indian philosophy, Dongguk University, Seoul

    Exhibition : ▪ Selected Solo Exhibition
    2015 Sugar, Gallery YEH(Seoul, Korea)
    2009 Candy, Trunk Gallery(Seoul, Korea)
    2007 Popcorn, Gallery Ssamzi(Seoul, Korea)
    2005 Plant, Container Project Space Zip(Seoul, Korea)
    2004 Sand, Duckwon Gallery(Seoul, Korea)
    2001 Glass, KEPCO Gallery(Seoul, Korea)
    2000 Butterfly, Seonam Photo Space(Seoul, Korea)

    ▪ Selected Group Exhibition
    2015 gaze:a contemplative mind, Gallery Huue, Singapore
    Accidental Encounter, Buk seoul Museum of Art, Seoul, Korea
    2014 Photo sight, National museum of modern art, Gwacheon, Korea
    Bling Bling!, Art factory, Paju, Korea
    2013 Love actually, Seoul Museum, Seoul, Korea
    Ilwoo Space, Seoul, Korea
    2012 Whanki Museum of Art, Seoul, Korea
    Art and cook, Sejong Museum of Art, Seoul, Korea
    2011 Hello tomorrow, CAIS gallery, Hong Kong, China
    Buk Seoul Dream Forest Art Center, Seoul, Korea
    2010 10th Photofestival-After 2010, Gana Art Center, Seoul, Korea
    The Asia Pacific Contemporary Art fair, Shanghai Exhibition Center, Shanghai, China
    Oh! Masterpieces, Gyeonggido Museum of Art, Ansan, Korea

    Detailed Description : series derives its motif from the peony folk painting. Peony is known as symbol of wealth and honor. Thus folding screens of peony have been set up in the wedding hall or banquet hall. Small painting of peony was hung on the wall of newly-married couple's room. In the past they might prayed for prosperous things to this splendid flower painting. Now they seem to be very naive when they depended on not a strong and timeless object like gold or sun, but on the transient flowers, as even though they are very dazzling and beautiful in full bloom, they soon disappear without any trace. Secular accomplishment, like momentary sweet but shortly melting candy in the end of the tongue, is actually futile. But I hope the wishes to be accomplished to the affirmation about the present that is spread in front of us, not to be the unavailing desire about unpossessed things.

    Artist's Objects:

    • Seong Youn  Koo - g.01 g.01

    Also exhibited by:

    Also represented by:

  • Myoung Ho Lee  (+)

    Biography : ■ Education 2008 ph. D. Dept. of Photography, Graduate School of Joong-Ang University, Seoul, Korea 2006 MFA Dept. of Photography, Graduate School of Joong-Ang University, Seoul, Korea 2003 BFA Dept. of Photography, College of Arts, Joong-Ang University, Seoul, Korea

    Exhibition : ■ Selected Solo Exhibitions
    2017 Savina Museum of Contemporary Art, Seoul, Korea
    Tree…, Yossi Milo Gallery, New York, USA
    Tree & Desert, Soul Art Space, Busan, Korea
    2016 Memories of Work, Atelier of Memories, Daegu, Korea
    2015 Trees, CONTACT Gallery, Toronto, Canada
    Tree, Allen Lambert Galleria, Toronto, Canada
    2014 798 Photo Gallery, Beijing, China
    Trees, Galerie Wouter van Leeuwen, Amsterdam, The Netherlands
    2012 Jungmiso, Seoul, Korea
    2010 Sungkok Art Museum, Seoul, Korea
    2009 Tree, Yossi Milo Gallery, New York, USA
    2008 Gallery Zandari, Seoul, Korea
    2007 Alternative Art Space Factory, Seoul, Korea

    ■ Selected Group Exhibitions and Projects
    2017 Visions of Nature, Kunst Haus Wien, Wien, Germany
    Triennial Exhibition, National Gallery of Victoria, Melbourne, Australia 2016 The Secret Garden, Seoul Museum, Seoul, Korea
    As the Moon Waxes and Wanes: MMCA 30 Years 1986-2016, The National
    Museum of Modern and Contemporary Art, Seoul, Korea
    Korean Contemporary Art in Moscow, Vystavka Dostizheniy Narodnogo
    Khozyaystva, Moscow, Russia
    Public to Private: Photography in Korean Art since 1989, National
    Museum of Modern and Contemporary Art, Seoul, Korea
    Being in Nature, Museum San, Wonju, Korea
    2014 Busan Biennale, Inhabiting the World, Busan Museum of Art, Busan,
    Korea
    AICA International Congress South Korea 2014, Suwon Hwaseong
    Cultural Festival, Hwaseong
    Haenggung Palace, Suwon, Korea
    Encuentros Abiertos - Festival of Light, Recoleta Cultural Center, Buenos
    Aires, Argentina
    2013 Constructed Visions: New Media from Korea, Pacific Asia Museum,
    Pasadena, USA
    Venice Biennale, The Encyclopedic Palace, The National Museum of
    Modern and Contemporary Art, Korea, Spazio Lightbox, Venice, Italy
    2012

    Detailed Description : Myoung Ho Lee photographs solitary trees framed against white canvas backdrops in the middle of natural landscapes. To install the large canvases, which span approximately 60 by 45 feet, the artist enlists a production crew and heavy cranes. Minor components of the canvas support system, such as ropes or bars, are later removed from the photograph through minimal digital retouching, creating the illusion that the backdrop is floating behind the tree. The series includes diverse species of trees photographed with a 4x5 camera in a variety of seasons and at different times of day. Mr. Lee allows the tree’s natural surroundings to fill the frame around the canvas, transforming the backdrop into an integral part of the subject. Centered in the graphic compositions, the canvas defines the form of the tree and separates it from the environment. By creating a partial, temporary outdoor studio for each tree, Mr. Lee’s “portraits” of trees play with ideas of scale and perception while referencing traditional painting and the history of photography. Myoung Ho Lee is the recipient of awards including the first Young Photographer’s Award from the Photo Artist’s Society of Korea in 2005, Korea’s Photography Critics Award in 2006 and a grant from the Culture and Art Fund from the Arts Council of Korea in 2007. Mr . Lee was born in Daejon, South Korea in 1975 and currently lives and works in Seoul, South Korea.

    Artist's Objects:

    •  Myoung Ho  Lee  - Mirage #4_Silk Road  Mirage #4_Silk Road

    Also exhibited by:

    Also represented by:

  • Bong Chae Son  (+)

    Biography : ▪ Education M.F.A. Pratt Institute, New York, NY B.F.A. The Dept. of Fine Arts, Chosun University, Gwangju, Korea

    Exhibition : ▪ Solo Exhibition
    2013 Light + Nature, Galerie Georg Peithner - Lichtenfels, Wien / Austria 2013 Dream of Diaspora, Posco Art Museum, Seoul, Korea
    2012 Migrants, Gallery Max Weber Six Friedrich, Munich, Germany
    2012 Migrats, MlCHAEL SCHULTZ Gallery, Berlin, Germany
    2011 Dream of Diaspora, Savina Museum of art, Seoul, Korea
    2010 Sound of Water and Wind, Gallery Beacon, Seoul, Korea
    2010 Transparent, Opaque, Gallery Andy’s, Seoul, Korea
    2010 Young Artist of this year, Gwangju museum of art, Gwangju, Korea
    2008 Light +Building 2008, Messe Frankfurt, Frankfurt, Germany
    2007 Commemoration of Opening Korean Cultural Center, Shanghai, China 2006 Lost Time, Border, Duolun Museum of art, Shanghai, China
    2006 Lost Time, Border, Gallery Ssamzie, Seoul, Korea
    2005 Shinsegae Gallery, Gwangju, Korea
    1998 1st Shinsegae Department Art Festival Awardees’, Incheon/Gwangju,
    Korea
    1996 Gallery Johyung, Seoul, Korea
    1995 Higgins Hall, New York, United States
    1994 New Gallery, New York, United States The Earth and the Wind, Culture
    &Art Promotion Center, Seoul, Korea

    ▪ Selected Group Exhibition
    2012 Jin(to Advance)Tong(to Communicate), Gwangju City Museum, Gwangju,
    Korea
    2012 Mudeung Tales, Today Art Museum, Bejing, China
    2012 Mudeung Tales, 河南省,Hénán Shěng Museum, Zhangzhou,China
    2011 Bamboo Grove and Wind, Daedam Museum of Art, Damyang, Korea 2011 Group Movement 'Lets do it', Kumho Gallery, Gwangju, Korea
    2011 Landscape of illusion, Shinsegae Centum-City Gallery, Busan, Korea
    2010 NEOSENSE-From Illusion to Three Dimension(3D’),Savina Museum of Art,
    Seoul, Korea
    2010 Light-EXPO, Sang-mu public garden, Gwangju, Korea
    2010 DIGI-FESTA, Gwangju Biennale Exbition Hall, Gwangju, Korea
    2010 Ceramic Art &Technology, AT Center, Seoul, Korea
    2009 Mind Topology_The Phases of 2009 Korea, National Taiwan Museum of
    ART, Taijung, Taiwan
    2009 Project Part2, Gallery Stren

    Detailed Description : The pine trees were seemed to be like people who were forced to leave their own land and compelled to be moved from place to somewhere in the process of industrialization. It is just like people's self-portrait in modern society. The beauty of the garden trees is just total of their agony and efforts to survive in a strange place. How many trees might survive or not? Can we say the trees are beautiful? How many people who wander on the outskirts of cities strive to settle down? I hope to hear their whisper and hope to soothe and glorify their agony. It is a kind of an anthem for those outsiders who are abandoned by the process of industrialization.

    Artist's Objects:

    •  Bong Chae     Son - Migrants Migrants
    •  Bong Chae     Son - Migrants Migrants
    •  Bong Chae     Son - Migrants Migrants

    Also exhibited by:

    Also represented by:

Other Represented Artists

  • Kim, Duck yong  (+)

    Biography : ■ Education 2002 M.F.A in Fine Art Photography, Rochester Institute of Technology, Rochester, New York, USA 1998 M.F.A in Photo Design, Graduate school of Hongik University, Seoul, Korea 1996 B.F.A in Design, Gwangju University, Gwangju, Korea

    Exhibition : 2015 Nabi, Soul Art Space, Busan, Korea See the Unseen, BMW PHOTO SPACE, Busan, Korea 2014 Journey of Light, Shinsegae Gallery, Busan, Korea Let There Be The Light, Zendai Contemporary Art Space, Shanghai, China Palette of Light, Kwanhoon Gallery, Seoul, Korea Tree of Life in Island, Shinsegae Gallery, Seoul, Korea Tree of Life in Island, Shinsegae Gallery, Gwangju, Korea 2013 Tree of Life in Island, Soul Art Space, Busan, Korea Light & Revelation, Vit Gallery, Seoul, Korea 2012 Decoding Scape, The Museum of Photography. Seoul, Korea Decoding Scape, Dudon Museum of Art, Jeju. Korea See the Unseen, Soul Art Space, Busan, Korea 2010 Tree of life, Vit Gallery, Seoul, Korea Tree of life, Shinsegae Gallery, Gwangju, Korea 2009 Jeonglok LEE, Gallery Kong, seoul, Korea 2007 The Mythic scape, Trunk Gallery, Seoul, Korea The Mythic scape, Shinsegae Gallery, Gwangju, Korea 2003 Aquarium, Shinsegae Gallery, Gwangju, Korea 2002 Clarias, Nine Gallery, Gwangju, Korea 2001 Clarias, SPAS Gallery, Rochster, New York, USA 1998 The Southern Land, Gallery 2000, Seoul, Korea ■ Selected Group Exhibitions and Projects 2014 Nature, in process, space cottonseed, Singapore Ha Jung-woong Young Artists "Light-2014" , Kwangju Museum of Art, Gwangju, Korea FULL MOON : A Story of Sky and Earth, Daegu Photo Biennale, Daegu, Korea JOURNAL OF THE PLAGUE YEAR, ARCO ART CENTER, Seoul, Korea Festival of Photography in Museum-History, Kwangju Museum of Art, Gwangju, Korea 2013 Meditated Landscape, Woljeon Museum of Art, Icheon, Korea Breath of Tree, Cheonan Arts Center Museum of Art, Cheonan, Korea Utopia, Opera gallery, Seoul, Korea Fact of Fiction, Kwanhoon Gallery, Seoul, Korea 2012 Mudeung Tales, TODAY ART MUSEUM, Beijing, China Gwangju Biennale - Round Table, Gwangju Biennale Exhibition Hall, Gwangju, Korea

    Detailed Description : A tree of life that has emerged in the world again is a gate that connects the visible and invisible worlds or the chasm between them. Light stands for the communion between the visible and invisible worlds. The tree of life symbolizes the interaction between these two different worlds as it is. Our industrialized contemporary society is laden with various stimulations that make us oblivious of life’s fundamental source. I wanted to create a site where the vitality of nature and the substantial world embedded in us meet. Beyond a mere Jeonglok Lee communication with nature, I hope we will be reminded of the waves from the invisible world that have been always influencing our life and history. Butterflies represent the soul in the East. Butterflies fly between here and there, even crossing the border between life and death. Coincidentally, the Korean word for butterfly, nabi, also means “prophet” in Hebrew. Because of this, the light in various forms and symbols is concentrated as butterfly in this series. The “Instant Flash” that Jeonglok used for my work is an instant light. It certainly does exist but is an energy that cannot be captured. It is the most essential tool and also the most significant symbol in my photography. We now have something invisible that does exist and the positive energy that was transmitted by it. The light as a medium of such energy can only be manifested through light and darkness, gentle and tough, and harmony and balance.

  • Lee, Jeong lok  (+)

    Biography : ■ Education 2002 M.F.A in Fine Art Photography, Rochester Institute of Technology, Rochester, New York, USA 1998 M.F.A in Photo Design, Graduate school of Hongik University, Seoul, Korea 1996 B.F.A in Design, Gwangju University, Gwangju, Korea

    Exhibition : 2015 Nabi, Soul Art Space, Busan, Korea See the Unseen, BMW PHOTO SPACE, Busan, Korea 2014 Journey of Light, Shinsegae Gallery, Busan, Korea Let There Be The Light, Zendai Contemporary Art Space, Shanghai, China Palette of Light, Kwanhoon Gallery, Seoul, Korea Tree of Life in Island, Shinsegae Gallery, Seoul, Korea Tree of Life in Island, Shinsegae Gallery, Gwangju, Korea 2013 Tree of Life in Island, Soul Art Space, Busan, Korea Light & Revelation, Vit Gallery, Seoul, Korea 2012 Decoding Scape, The Museum of Photography. Seoul, Korea Decoding Scape, Dudon Museum of Art, Jeju. Korea See the Unseen, Soul Art Space, Busan, Korea 2010 Tree of life, Vit Gallery, Seoul, Korea Tree of life, Shinsegae Gallery, Gwangju, Korea 2009 Jeonglok LEE, Gallery Kong, seoul, Korea 2007 The Mythic scape, Trunk Gallery, Seoul, Korea The Mythic scape, Shinsegae Gallery, Gwangju, Korea 2003 Aquarium, Shinsegae Gallery, Gwangju, Korea 2002 Clarias, Nine Gallery, Gwangju, Korea 2001 Clarias, SPAS Gallery, Rochster, New York, USA 1998 The Southern Land, Gallery 2000, Seoul, Korea ■ Selected Group Exhibitions and Projects 2014 Nature, in process, space cottonseed, Singapore Ha Jung-woong Young Artists "Light-2014" , Kwangju Museum of Art, Gwangju, Korea FULL MOON : A Story of Sky and Earth, Daegu Photo Biennale, Daegu, Korea JOURNAL OF THE PLAGUE YEAR, ARCO ART CENTER, Seoul, Korea Festival of Photography in Museum-History, Kwangju Museum of Art, Gwangju, Korea 2013 Meditated Landscape, Woljeon Museum of Art, Icheon, Korea Breath of Tree, Cheonan Arts Center Museum of Art, Cheonan, Korea Utopia, Opera gallery, Seoul, Korea Fact of Fiction, Kwanhoon Gallery, Seoul, Korea 2012 Mudeung Tales, TODAY ART MUSEUM, Beijing, China Gwangju Biennale - Round Table, Gwangju Biennale Exhibition Hall, Gwangju, Korea

    Detailed Description : A tree of life that has emerged in the world again is a gate that connects the visible and invisible worlds or the chasm between them. Light stands for the communion between the visible and invisible worlds. The tree of life symbolizes the interaction between these two different worlds as it is. Our industrialized contemporary society is laden with various stimulations that make us oblivious of life’s fundamental source. I wanted to create a site where the vitality of nature and the substantial world embedded in us meet. Beyond a mere Jeonglok Lee communication with nature, I hope we will be reminded of the waves from the invisible world that have been always influencing our life and history. Butterflies represent the soul in the East. Butterflies fly between here and there, even crossing the border between life and death. Coincidentally, the Korean word for butterfly, nabi, also means “prophet” in Hebrew. Because of this, the light in various forms and symbols is concentrated as butterfly in this series. The “Instant Flash” that Jeonglok used for my work is an instant light. It certainly does exist but is an energy that cannot be captured. It is the most essential tool and also the most significant symbol in my photography. We now have something invisible that does exist and the positive energy that was transmitted by it. The light as a medium of such energy can only be manifested through light and darkness, gentle and tough, and harmony and balance.

About