• Biography
• Education
• Selected Solo Exhibitions
• Selected Group Exhibitions
• Artist in residence
• Artist Statement

Biography

B. 1989, Seoul, South Korea

Lives and works in Seoul.

Education

2020 Graduated MA Fine Art: Painting Camberwell College of Arts

2016 Graduated BA Painting Fine Arts Gachon University College of Arts

Selected Solo Exhibitions

2023 The Record, the Double, the Singular, Woaw Gallery. Hong Kong (Duo-Solo)

2022 No boundaries, Cuturi gallery, Singapore 

Emerald Island, CICA museum, Kimpo, Korea

A Phantom Reminiscences, Space Kyeol, Seoul, Korea

2021 Emerald Island, Taymour Grahne project, London, UK (online)

Selected Group Exhibitions

2024 Summer Escapade, Dangnim museum, Korea 

Contemporanea 24, Emanuele Moretti, Orsini-Colonna, Italy

Escapism(duo), Andreafesta Fineart, Rome, Italy 

2023 Almost paradise, Riana Raouna, Nicosia, Cyprus

Another Beginning, Brown hands, Gumi, South Korea

2022 Dream on Dreamer, Riana Raouna, Limassol, Cyprus  

Landscape, Taymour grahne projects satellite, London, UK 

Young artists group show, Space Kyeol, Seoul, South Korea

2021 Hysterica, M.A.D.S. Art Gallery, Milan, Italy

New Opening, Sunchang Youth Mansion and Canverse (online)

Spiral life, Suchang Youth Mansion, Daegu, South Korea

Asyaaf, Hongik museum of art, South Korea 

2020 London grads now, Saatchi, London, UK 

All These Gestures, Bowes-parris Gallery, London, UK

Artist in residence

2022 Cuturi gallery, Singapore

Artist Statement

I do not simply reproduce landscapes. I follow the memories and sensations a scene set in motion, and the feelings change over time. For me, a landscape is not an objective set of coordinates, but a psychological place made by the overlap of present emotion and older memory.

My works usually begin with an actual site, a photograph, or an image that appears suddenly. At first it stays with me for no clear reason; as time passes, it shifts in meaning within the flow of my memory and feelings. While painting, a stranger or an unrelated image may enter the canvas. Even without a direct story to me, it connects to the scene through intuition and works as an emotional marker.

When different memories and images meet, small misalignments appear. I see these as gaps. A gap is not empty space but an emotional interlude—a short pause where feeling rests and then moves again. Like a break in a performance, it interrupts the flow, but it is not a full stop. Emotion repeats a rhythm of stopping, staying, and flowing, and seeps into the surface.

I avoid pinning feelings down too precisely. Instead, I use color exaggeration and deliberate dissonance, blurred or sharpened forms, and layered, repeated brushwork to show their rhythm and tension. The spaces I build are not copies of reality but emotional terrains formed by the crossing of memory, feeling, sense, and intuition. I call this a “phantom place”—not physically real, yet clearly present on the level of feeling.

In the end, my painting does not declare a feeling; it lets its aftertaste and movement remain on the surface. I hope viewers find their own memories in these gaps and margins, let their feelings rest for a moment, and then let them flow on.