KIM MYEONGJIN

Kim Myeongjin, I Thought Human Skin Was Just Like the Mind, dimensions variable, airbrush and stitching on sponge, 2025
Kim Myeongjin, I Thought Human Skin Was Just Like the Mind, dimensions variable, airbrush and stitching on sponge, 2025

Taking aversion and hatred as a departure point, my work confronts trauma and explores the possibility of healing within it. Using skin as a primary medium, I visualize the process through which emotional traces are inscribed. By integrating sculpture, video, and installation, I treat wounds not as static marks, but as evolving entities that transform across time.

HASEUL KIM

Kim Haseul, Tranquility - Breath, 27.0×27.0cm, color on Korean paper, 2026
Kim Haseul, Tranquility - Breath, 27.0×27.0cm, color on Korean paper, 2026

Beginning with anxiety and emotional wounds, my practice reflects upon the inner self and explores the possibilities of serenity and restoration. Drawing from motifs found in everyday life and the natural world—such as people, night, stars, flowers, grass, and birds—I reconfigure the “night,” once a space of fear, into an idealized realm where healing and rest coexist. Through simplified forms and symbolic imagery, I capture life’s modest joys and inner peace, unraveling through painting the journey of moving toward an ideal amidst the imperfections of life.

SUYEON YU

Suyeon Yu, Await, 90.9×72.7cm, oil on digital print on canvas, 2024
Suyeon Yu, Await, 90.9×72.7cm, oil on digital print on canvas, 2024

Taking everyday experiences that everyone has likely encountered at least once as subject matter, I interpret them unrealistically through my own unique perspective.
By depicting creatures that do not exist in reality, chimeras, and unknown spaces within my work, I expand into a world that is both familiar and strange.
By imbuing the subjects within my paintings with their own individual stories, I leave open possibilities for diverse imagination and interpretation, aiming to create works that allow the viewer to think and imagine as if reading a picture book.

JEONGYEON JEON

Jeongyeon Jeon, Windows and Crevices – Areca Palm, 90.9×72.5cm, color on Korean paper, 2025
Jeongyeon Jeon, Windows and Crevices – Areca Palm, 90.9×72.5cm, color on Korean paper, 2025

Windows and Crevices captures the vivid presence of life breaking through human-made boundaries. In this series, plants function as symbols of resilience and hope, expressed through vibrant, diverse colors. In contrast, the surrounding architectural elements—such as window frames and concrete crevices—are rendered in muted achromatic tones, heightening the visual tension between the living and the inert, the natural and the artificial.
Here, a “crevice” is not merely an empty gap, but a space of potential where life takes root. A “window” serves a dual role: a closed boundary, yet an opening through which to view the outside world. Going beyond a simple depiction of flora, Windows and Crevices captures the subtle cracks in everyday life, inviting viewers to listen to the quiet yet enduring voice of life sprouting within them.

ARTISTS

KIM MYEONGJIN
HASEUL KIM
SUYEON YU
JEONGYEON JEON