PARK YOUNG HAK < Emptiness and Fullness >

Park Young Hak, who draws landscapes using materials such as charcoal, focuses on the essence of natural forms through emptying rather than accurately depicting the landscape. The Familiarity and unrealistic images of his artworks catch the viewer's gaze. Looking at his artworks with blank spaces, it is understandable that the overall title was , which is also the artist's will to focus on emptying and contain the elegant Korean customs like white porcelain. Unlike images, simple-looking artworks are never simple in their creating process. Park Young Hak makes a solid base by coating and drying the white stone on the paper more than 15 times. Through this process, the drawing paper is coated with an unchanging pure white color, the stone powder emits a soft light, and the paper becomes harder. On top of that, he expresses images with materials such as pencil and charcoal which are dry materials. These processes mean the artist's desire to return the artwork to nature through the use of natural materials. Park Young Hak begins his artwork by erasing artifacts and scenery that he feels are unnecessary. Rather than using multiple colors, he focuses on the contrast between black and white, using charcoal and cotton swabs on the rough surface of white stone powder to create the depth of light and shade of oriental paintings. The charcoal on the canvas appears as strong lines, and is drawn as mountain ridges, valleys, rocks, trees, and furrows. At this time, the lines flexibly cross the screen, expanding or concentrating the gaze of the viewer. The charcoal, carefully divided by his touch, forms planes and is expressed as the sea, islands, and rivers. Delicate and small lines are drawn with a pencil and become trees and leaves blowing in the wind.

KIM SOON CHEOL < Emptiness and Fullness >

Kim Soon Cheol is creating her artworks with adding texture and diversity to oriental paintings that feel rather flat. She brought sewing to the canvas using ordinary materials such as thread and needle and built her own special world of art. She says that the virtue of oriental painting lies in emptiness. From this artistic context, her artworks, which places an object in the center and fills the paper with layers of stitching and coloring, feels very heterogeneous. She eliminate unnecessary elements while focuses entirely on the message she wants to express. If you feel the time of patience of the artist who exquisitely stitched up with traditional materials, you can imagine the work process outside the canvas, which will be the power that comes from the artist's unique aesthetic of emptiness. The major objects in her recent artworks are composed of flowers, jars, and chairs. These are not objects of description or representation, but symbolic signs that contain the artist's wishes. At first glance, the symbol in the shape of a flower was brought to the canvas by her after seeing the appearance of cabbages wasted in the cabbage field, showing that it can also be seen as flowers in full bloom depending on the viewing point of view. She expresses the desire to bloom through flower artwork series. The pot boasting a graceful appearance in the center of the artwork is a symbol as a container for good things, and it bears the artist's wish to empty the complexity and contain what she wants. In addition, a chair that is generally made with four legs is expressed with two legs in the artwork, which is a shape that represents the artist's appearance, and the artist's will to stand up firmly on two legs. The shapes containing these wishes are symbols containing the artist's hopes to be light, empty, and tidy, which explains why her artwork was titled “About Wish.”

Lee Sunjoo < My Golden House>

Lee Sunjoo collected items in daily use such as stationeries and stamps since childhood. As an adult, she has collected Bojagi containing Korean traditions and sentiments, and milk glasses used in ordinary American homes. With this interest, she has realized that collections are a medium through which she reflects on the time and space she has lived in. The collections filled with her affection naturally lead to her artwork, and instead of language, she reveals who she is. The literal meaning of an object is “an object that exists objectively,” but Lee Sunjoo embodies the meaning they contain through a restrained frame composition rather than telling about the appearance of an object. Her still life photography is a discourse on invisible beings, such as social and cultural sentiments and the artist's emotions. In ‘Black Memorabilia’ series, she placed objects in a lightless space and had a photoshoot still objects barely visible. It told about the beings that are invisible but existent. Afterwards, through the 'Stack' series, the desire contained in the act of stacking were expressed, and sincerity and love were expressed through the 'Bottali' series.

Kim Geon-Il < Perfect Green: Forest drawn by Heart>

Kim Geon-Il's landscape painting is not a real landscape, but a landscape in the artist's imagination.Rather than the object exisiting in reality, he embodies the subject who looks at the object, that is, the heart of the artist himself through his artwork. The 'memory', the key motive of his artwork, was visualized on the canvas when he met the object of 'forest' at last. If you walk through a desolate forest, you may come across many unexpected elements, such as creatures you have never seen before and lush bushes. As for memories, the more you dig down into them, the more imperfections that change according to your heart or desire revealed, rather than a simple story. Just as we enter the forest and meet the unexpected elements outside the forest, likewise, our memories have such aspects.

Shin Sujin < Tinted >

Shin Su Jin’s artworks, combined painting and print, add diversity to its expression and color. Small thing in the form of seeds overlap and aggregate on the canvas, embodying the natural cycle of birth, growth, and extinction of life. The formativeness of superimposing numerous images and capturing them on one scene look like delicate young leaves when seen in close-up, but sometimes become a flower or a cosmic wormhole in the long-shot. Shin Su Jin uses engraving and drypoint techniques to create and color the plates by hands, and then repeatedly stamps them on Hanji (traditional Korean handmade paper). Then, draw lines with a brush or add color to add delicacy. This process includes the trembling and spreading of lines, as well as the delicate senses and breathing of her hands.

Kim Sihyun < Past, Present, and Myself >

Artist Kim Sihyun actively explores and studies Korean aesthetics by taking animals or flowers in court art as motifs, the pinnacle of the splendor of traditional Korean culture, to unravel the spirituality of Korean art in modern formative language.

Yoo Choongmok < Past, Present, and Myself >

“Series of Zipper” initially presented wit melted on the media experimentation on glass. The “The Skin” series expresses the subtle conflicts between various races and the complex emotions felt during the time when he was away from Korea. After these series, the artist Yoo Choongmok, who has been working to expand the limits of visual language by incorporating formativeness into glass with “Series of Mutation”, is acclaimed for his “Formation” series that expresses his respect and condolences to the painter Kim Tschangyeul, who passed away last year.

Choi SeungYoon < Past, Present, and Myself >

The world is always ambivalent. It is a world of balance where polarities coexist, such as the universe and life, yin and yang, and the beginning and the end. His paintings contain those order of the world. The painting, which started from rift of the paradox, expands to fill the rift and belch vitality as if it will be forever. His lines and spaces move, collide, harmonize, and come to life on the canvas. He thinks that a painting is a living creature or a universe. In order to create a life, he thought the rules of the world had to be embody in a painting, and the rule of the world he thought of were ‘Rule of Opposite’. He has been working on themes of the Beginning of the Stop, Paradox of Movement, Cross-section of the Moment, Paradox of Time and Space, and Paradox of Equality and Difference.

< The Island of Nemonane >

Nemonane, the prime motif of his artworks as well as his alternate character, is not only the artist today but also a character derived by drawing on his childhood memories and experiences and his imagination.

< Light and Joy >

Artist Song Ji Young who has been interested in color perception brings artificial light into the canvas and harmonizes it with the brush touch to create a new formative language.

< Light and Joy >

He was being enamored with Claude Monet and started his art career under the influence of Monet. The ever-changing impression of light is depicted in beautiful colors and embraces the vitality of nature.

Lee Kyong is a distinctive artist who perceives external stimulation or emotions in daily life as colors. For Artist Lee Kyong, who says she views color with her heart, not with her eyes, color is the motif and theme of the creation. She eliminates the tangible shapes from the canvas and reconstructs the colors by ordering them.

< Walking Into a Dream >

Jamie M. Lee presents on the canvas with keywords of ‘Dream’ and ‘Hope’. Full range of artworks are featured in visual language through multifarious medium, conveying her thoughts and emotions in a fantastical Meta verse space.

Metagallery LaLuna Opening Exhibition

The forthcoming exhibition of Hai Ja Bang, renowned as “an artist of light”, will resonate her world of art, featuring a wide variety of artworks themed on beauty of light.