Metagallery LaLuna

Artists

Han YunJe < Fragments of Memory >

Han YunJe < Fragments of Memory >

Han Yunje majored in Sculpture at Hongik University and completed the doctoral coursework at its graduate school. Through his sculptural practice, he has structurally explored issues of memory, perception, and viewpoint. Constructed from industrial materials such as stainless steel and acrylic, his works are designed with careful consideration of light, reflection, and transmission, forming meaning through their relationship with the surrounding space. Rather than presenting specific scenes or events directly, his work reveals the nonlinear nature of memory through structure and framing, layering and segmentation. The artist describes this concept as “Mem-sion,” a term combining Memory and Dimension, suggesting that memory is not a singular image but is perceived differently across multiple dimensions and perspectives. His practice is architectural in character. Linear elements, grids, and repetitive frames construct sectional spatial experiences, while layered planes allow viewers to perceive shifting relationships of form and color depending on their position.

Han YunJe
Hwang YooJung < Fragments of Memory >

Hwang YooJung < Fragments of Memory >

Hwang YooJung majored in Western painting at Ewha Womans University and received a Master of Education (Ed.M.) in Art and Art Education from Columbia University Teachers College. Her work originates from experiences of everyday spaces and objects encountered in daily life. Rather than dramatic events or extraordinary scenes, her work begins with observation. The artist records repeatedly encountered objects and spaces through photographs and sketches, later revisiting them over time and focusing on the altered state of memory that emerges through recollection. Modest subjects—light passing through a window, a palette on a worktable, coffee cups, key rings, and flowers—serve as primary motifs that evoke traces of memory. While Hwang renders her subjects with realism, representation itself is not her objective. She describes her approach as “perceived memory,” revealing memory as a process of selection and transformation. Methods of cutting, layering, and overlaying visualize how memory remains not as a complete image but as fragmented remnants.

Hwang YooJung
Shin Sun joo < Imaginary Reconstruction>

Shin Sun joo < Imaginary Reconstruction>

Shin Sun Joo employs a technique of scratching into canvases densely layered with oil pastel, moving beyond the mere reproduction of photographic moments to reconstruct the stratified nature of memory. By erasing from a surface saturated with darkness to reveal emerging forms, his paintings articulate a paradoxical structure in which images are generated not through addition, but through subtraction. His method has been described by a curator as a Manière noire. This term does not merely denote a preference for dark tonality; rather, it articulates an approach in which darkness absorbs light, condensing space and time into a material field. Black, in this context, functions not as background but as density — a charged spatial condition from which form is excavated. The artist’s scratching process bears a structural affinity to mezzotint, a form of intaglio printmaking historically referred to in French as manière noire. As in mezzotint—where the plate is first darkened and light gradually revealed—Shin’s paintings follow a similar logic, allowing forms to surface from within darkness. He softens oil pastel with the warmth of his fingertips, pressing it into the canvas, and subsequently incises the surface with a sharp metal stylus to construct the image. The process demands a level of concentration akin to sculptural labor. As one critic has suggested in comparing his practice to tapestry weaving, Shin’s work traverses photography, printmaking, and painting, resulting in a rigorously constructed visual field.

Shin Sun joo
Yoon Jeong Sun < Imaginary Reconstruction>

Yoon Jeong Sun < Imaginary Reconstruction>

Yoon Jeong Sun captures the essence of remembered spaces. Her artworks depict realms that simultaneously exist and do not—constructed from her memories, isolated from the passage of time and the flux of people and environments. Like entries in a secret diary, Yoon records solitary moments within these spaces. Her artistic journey began in the early 2000s with predominantly monochrome works, influenced by the overcast skies of England and the bustling streets of China. During her time in Beijing, she introduced vibrant primary colors into her depictions of deserted urban landscapes, marking a significant evolution in her style. These colorful elements in empty settings symbolize enduring memories. One of her hallmark series, 'Embolium,' features night scenes like the luminous facade of the Myeongdong Cathedral Jesuit Hall against a backdrop of profound darkness. The reflected lights—purple, pink, and blue—capture the artist’s emotions, creating a striking contrast with the shadowy structures. These nocturnal moments, akin to an interlude in a play, offer a pause from daily life, allowing Yoon to deeply reflect on her artistic existence and the essence of her work.

Yoon Jeong Sun
Song JiYoung < Resonance >

Song JiYoung < Resonance >

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. As a line which is an element of the artwork, the light exists in the painting and influences the surrounding colors and forms. Paying attention to the interaction between physical properties and colors from other material within a canvas, and closely observing the change of color according to the illuminance of light is manifested from the curiosity about the process of perceiving color.

Song Ji Young
RANGRANG < BLOSSOM >

RANGRANG < BLOSSOM >

RANGRANG (Jeong Seo-yoon) seamlessly fuses the traditional Korean material of nacre (mother-of-pearl) with contemporary painting, establishing a distinctive visual language of her own. Her work explores light, color, and the intricate relationship between humanity and nature, visualizing the transformation of light through the iridescent surface of nacre. For RANGRANG, nacre is more than a decorative element—it serves as a bridge between tradition and modernity, East and West. Its ever-shifting colors and textures, which change depending on the viewer’s angle and the surrounding light, mirror the fluid and dynamic nature of human relationships. The artist harnesses this quality to evoke the intertwined connections between people.

RANGRANG
Jeane Yoon < ETHEREAL DRIFT >

Jeane Yoon < ETHEREAL DRIFT >

Jeane Yoon, an artist who captures the fleeting beauty of nature’s transformations through mother-of-pearl, studied Architectural Design at the University of Pennsylvania in Philadelphia. Having lived abroad since her high school years, she grappled with questions of identity between Eastern and Western cultures. For her, the sea has always been a source of solace; the undulating waves and shifting hues of the ocean became the foundation of her practice. Mother-of-pearl possesses the unique quality of subtly shifting with the angle of light. In her Iridescent Serenity series, the material shimmers like sunlight breaking upon the waves or the frothy crest of the sea. Rather than depicting the ocean in its literal form, Yoon reassembles the emotional fragments she experiences each time she encounters the sea. The iridescence changes entirely with the viewer’s movement and the play of light, embodying the fragments of emotion she felt in front of the water.

Jeane Yoon
Yoon Songah < The Boy in the Forest >

Yoon Songah < The Boy in the Forest >

Yoon SongAh is an artist who portrays the sense of alienation experienced by the individual within society. She made her debut in 2023 at the ASYAAF (Asian Students and Young Artists Art Festival), where she quickly drew critical attention. Having spent her childhood abroad due to her parents’ overseas postings, she was exposed to diverse cultural environments. In particular, her encounter with gongbi painting in China awakened her to the allure of East Asian painting, which she later went on to study in earnest. Yoon’s paintings originate from vivid dreams she once had. In one such dream, all human figures had vanished, leaving streets filled only with thickets in the shape of human bodies. The solitude and unease she felt in this striking vision became a central motif in her work. Her compositions often feature dense forests of towering trees alongside a solitary boy. In this context, the boy symbolizes an individual unable to assimilate into society, while the trees represent the collective or the social body. The ‘eyes’ painted on the tree trunks signify the gaze through which society observes, judges, and appraises the other. These eyes may fixate on the boy, turn away in indifference, or even convey hostilityvisual metaphors for the mechanisms of surveillance, control, and attention imposed by society.

Yoon Songah
Bunpei Kado < DREAM HOUSE >

Bunpei Kado < DREAM HOUSE >

Bunpei Kado (b. 1978) graduated from Musashino Art University, majoring in Metal Craft within the Department of Industrial, Interior and Craft Design, and has since pursued his career primarily in Japan as a contemporary sculptor. He collects ordinary, everyday objects, combining and transforming them to present fresh perspectives on the concept of home. Central to Kado's practice is the sculptural representation of familiar objects juxtaposed with disparate elements or structurally reconfigured. Objects such as barrels, tanks, drawers, chairs, and household furniture—typically functional in their usual contexts—undergo a reconfiguration of their semantic implications through artistic recombination and relocation. Crucially, Kado's interest lies not merely in replicating outward appearances but in emphasizing or destabilizing the semiotic attributes of these objects. When processing diverse media such as metals and wood, Kado intentionally highlights or obscures their physical characteristics. By artificially oxidizing metal surfaces or concealing wood joints, he creates an intentional sense of temporality and wear, producing paradoxical objects that resemble readymades yet remain distinctly crafted. His works sit at the intersection of traditional craftsmanship and contemporary sculptural conceptualism.

Bunpei Kado
Hyemin Lee <TWO ARTISTS>

Hyemin Lee

Hyemin Lee is an artist who continuously reinterprets everyday materials, transforming them into sculptural language that explores human emotions and social experiences. Through her work, she offers audiences new visual experiences and emotional resonance. Her art goes beyond the materiality of objects, raising emotional and philosophical questions, making her a prominent artist in contemporary sculpture and installation art. Her interest in art is deeply rooted in her childhood. Fragments of fabric carrying family traces, old pillows, and the memories embedded within them have become key themes in her creative process. She delicately reconstructs these remnants, transforming them into sculptural pieces infused with emotional significance rather than mere objects. This process serves as a form of personal healing while simultaneously fostering empathy and emotional connection with the audience.

Hyemin Lee
Jung Jin <TWO ARTISTS>

Jung Jin

JungJin presents multi-layered paintings where reality and fantasy intersect. Her works superimpose two-dimensional graphic design elements, mythical and fairy tale characters, and other imagery onto realistic landscapes, merging different temporal and spatial narratives into a single canvas. These overlapping images, combined with bold, primary colors, create a unique tension within the composition. Within these fairy tale-like scenes, the artist’s inner anxieties are subtly projected, blurring the viewer’s perception. A defining characteristic of her artistic approach is the continuous experimentation with the limits of the painting plane by blending traditional landscape techniques with contemporary pop culture imagery.

Jung Jin
Lee Ji-Won < Ocean of magma >

Lee Ji-Won < Ocean of magma >

Lee Ji-Won’s paintings capture the process of inner dialogue through connections with healing elements in nature. Her depictions of nature are lush and vibrant, with characters sharing emotions quietly yet profoundly. Through cherished moments with loved ones and playful times with her dog, she expresses the value of happiness and how these moments bring healing and energy, rendered in meticulous brushstrokes. Lee’s work offers viewers a meditative and restorative experience, guiding them to find personal tranquility. Her art invites viewers to rest instinctively within nature’s beauty and experience inner peace.

Lee Ji-Won
Nam Kyung Min < Invitation to N - Into Inner Landscapes>

Nam Kyung Min < Invitation to N - Into Inner Landscapes>

Nam Kyung-min is an artist known for her imaginative portrayals of the private studios of master artists such as Vincent van Gogh, Claude Monet, and Paul Cézanne. Her art often reimagines these spaces as introspective environments filled with furniture, books, and symbolic objects that reflect the lives and creative struggles of these figures. Nam invites viewers to peer into these secluded realms through slightly open doors and parted curtains, sparking curiosity about the intense, private spaces where these renowned artists once worked. Nam's renderings sometimes draw upon real-life visits to the artists' spaces, but more often they are imaginative reconstructions. She fills these spaces with metaphoric objects that encapsulate universal themes: a skull and a candle symbolizing life's brevity, a glass bottle representing the transparent purity of an artist’s inner self, and wings that reflect unfulfilled aspirations. These objects are placed in the space without any specific order, giving an air of effortless symbolism.

Nam Kyung Min
Whei Za Kim < Contemplation >

Whei Za Kim < Contemplation >

Whei Za Kim is an artist who graduated from Seoul National University's College of Fine Arts and later earned a master's degree in printmaking from Sungshin Women's University. Following her studies, she established a unique artistic vision while working as a visiting artist in New York. During her time in the coastal forests of Long Island, she experienced profound healing through her connection with nature. Observing trees that grow from the earth and stretch towards the sky, she became deeply attuned to the vitality and energy of the universe. Kim acknowledges the limitations of science in understanding the essence of Qi—the fundamental energy of the universe—and believes that only through the human subconscious and emotions can one truly grasp and connect with this essence. For her, creating art is an ongoing dialogue with the cosmic mysteries, drawing endless inspiration from trees.

Whei Za Kim
Kim Si Jong < LIFE IN EQUILIBRIUM >

Kim Si Jong < LIFE IN EQUILIBRIUM >

Kim Si-Jong reinterprets 17th century Dutch still lifes through modern collages. These historically lavish works resemble today’s social media culture of flaunting wealth and status. Despite the evolution of cultural practices, the essence of social survival remains unchanged. Reflecting on the global pandemic, Kim’s pieces incorporate withered flowers, skulls, and hourglasses to convey the message, “Remember death.” Through advanced photography and digital editing, he merges reality and imagination, transforming the sizes and colors of flowers and animals to create a world where diverse life forms coexist.

Kim Si Jong
Hong Jee hui < LIFE IN EQUILIBRIUM >

Hong Jee hui < LIFE IN EQUILIBRIUM >

Hong Jee-Hui uses upcycled materials like discarded glass and Styrofoam to create objects inspired by nature’s four seasons. By incorporating artificial substances symbolizing human progress and desire, she suggests ways to achieve harmony between humans and nature. Her process mirrors the cyclical patterns of nature, restoring resources and generating new value. In this exhibition, she draws on her daily walks to present new perspectives on sustainable living. Her work encourages viewers to reflect on respect for nature and coexistence, providing a contemplative space in today’s materialistic society.

Hong Jee hui
MeME < U GOT THIS > < Pink Christmas >

MeME < U GOT THIS > < Pink Christmas >

MeME offers a hopeful worldview centered on the independent life and happiness of contemporary individuals by bridging cartoon elements from popular art with a diverse array of visual arts techniques, including mixed media, flat surfaces, and stereoscopic presentations. The materials used in all of the artist's works symbolize human subjectivity, transforming artificially created environments to overcome biological limitations and craft a necessary world for themselves. The character of Object Pigme embodies the frailty of the artist and modern individuals within the confines of contemporary society. Born as a pig lacking self-esteem, Object Pigme, always aware of its surroundings, sports elongated ears akin to a rabbit and a timid, small mouth. Heart goggles symbolize a beacon illuminating a paradise of happiness for Pigme, flying with fervent energy, dreaming of joy. Through Pigme's journey to rediscover lost self-esteem, the character returns to a state of pure innocence devoid of self-consciousness, constructing a surreal utopia for all modern adults in pursuit of their dreams.

MeME
Cho Jae Yeon < BULE DRAGON >

Cho Jae Yeon < BULE DRAGON >

Cho Jae Yeon addresses the anxieties and contradictions faced by contemporary individuals, depicting them whimsically and using playful elements to navigate through fairy tale-like narratives. The dinosaur figures appearing in the artworks are somewhat indistinct within thick brushstrokes. The kitschiness perceived amid the arrangement of vivid colors can be seen as the artist's way of expressing the imperfections of modern life. The yellow smile atop these dinosaurs is Jaeyeon's cheerful greeting, simultaneously conveying a message of optimism—suggesting that everything will eventually fall into place.

Cho Jae Yeon
이소영< BULE DRAGON >

이소영< BULE DRAGON >

Lee Soyoung has been reinterpreting the aesthetic beauty of traditional Korean folk paintings in a contemporary light. Her artworks depict various figures commonly found in Goguryeo murals, late Joseon folk paintings, including floral designs, animal figures, and diverse symbols used in royal contexts. She creates new works by collaborating modern design elements with traditional figures, resulting in a synergy that showcases a deeper essence of Koreanness. Bold Eastern colors reminiscent of Dancheong, traditional Korean decorative coloring, are boldly used in her works. Amidst the vibrant palette, she employs the dichotomy of monochrome, white, and black, adding weight to modernity within her art. Lee Soyoung constructs a fresh and evocative artistic realm through her interpretation of folk paintings from a modern perspective.

Lee Soyoung
KIM MINHA < Pink Christmas >

KIM MINHA < Pink Christmas >

Artist Kim Min-ha conveys a positive, warm, and pure inner essence to people, akin to an orchestra's performance, through the various visual languages present in their work. The artist is primarily focused on the excitement that emerges from new attempts, trials, and errors, exploring diverse expression techniques, compositions, and a paradigm-breaking interpretation, diverging from the realm of intense painting. The recurring motifs of rabbits and girls in the artist's works represent the artist's childhood self and encapsulate the pure essence retained as an adult. This purity fuels the artist's fairytale-like imagination. Kim Min-ha's artwork aims to depict a joyful narrative that resonates with the audience, evoking a sense of happiness akin to being immersed in a gentle drizzle.

KIM MINHA
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