Vibes and Vistas Korean Art Magazine - Issue 2

P/04 SANG WON LEE

FACES IN THE CROWD

P/20 KYUNG-SOOK NAM

ISLAND OF CHANGE

P/36 JAEYOUN SHIN

CREATURES OF FRAGILITY

P/52 HYUNJU KIM

EASTERN PARADISE

P/66 SUJEONG JIN

THE SPIRIT OF NOMADISM

CONTENTS

P/12 ANNA JUNGSEO STRANGERS IN THE STREETS

P/28 SOYOUNG KWON BEYOND THE OUTBACK

P/44 LUCY SSON JEJU ISLAND DREAMS

P/58 YUNI LEE ICON B

P/72 YUN JONG

LETTERS FROM CHILDHOOD

STEWART COLLINS, Editor-in-Chief JIWON KIM, Head Curator

ARTWORKS: ANNA JUNGSEO / HYUNJU KIM / JAEYOUN SHIN / KYUNG-SOOK NAM / LUCY SSON / SANG WON LEE / SOYOUNG KWON / SUJEONG JIN / YUN JONG / YUNI LEE ©

EDITOR’S NOTE

Dear Readers,

I request that you fasten your seatbelts as we embark on a remarkable journey alongside Korea’s most gifted artists. In Issue 2, we are transported far from our familiar shores, venturing into the boundless world of creativity that emerges when artists take to the road. ‘On the Move,’ these artists have escaped their comfort zones, given in to the allure of foreign cultures, or simply re-discovered a profound appreciation for their roots along the way. Returning home with fresh perspectives, they have infused their art practice with the essence of exploration and discovery. I hope that their works will resonate with your sense of wanderlust and encourage you to take the road less traveled, one that winds through the landscapes of the human soul and the diverse tapestry of our world.

STEWART COLLINS Editor-in-Chief

Churaumi Aquarium (2015). Acrylic on Canvas. 91 x 117cm.

SANG WON LEE

EVERYTHING BEGINS WITH A HUMBLE PHOTOGRAPH — AN UNASSUMING GLIMPSE INTO THE BEAUTY OF ORDINARY LIFE

S ang Won harnesses the art of photography to capture the hidden and often underappreciated depths of daily life, later expanding his photographic fragments into a breathtaking panorama of acrylic, oil and watercolor landscape paintings. While partaking in cherished moments with family and friends, Sang Won assumes the mantle of a keen observer, his discerning eye attuned to the ambient rhythms of social life.

Be it leisurely weekend strolls in the park or serene gatherings along the shoreline at daybreak, his immersive vistas resonate with human narratives and heartbeats united. With a certain three-dimensionality, Sang Won imbues his canvases with a dynamic sense of motion, reviving the hushed whispers, joyous laughter, and impassioned outpourings of emotion that emanate from the crowd.

The Park (2021). Oil on Canvas. 65 x 90cm.

9 January 2024 / issue #2

AS SANG WON TRAVERSED THE LANDSCAPE OF HIS 30S, AN AUDACIOUS DETERMINATION TOOK ROOT WITHIN HIM — A RESOLVE TO CRAFT AT LEAST ONE PAINTING EACH DAY, NO MATTER THE WEATHER. WHILE MANY FEARED THAT SUCH AN UNRESTRAINED APPROACH MIGHT DILUTE THE RARITY AND VALUE OF HIS PORTFOLIO, SANG WON CLUNG DEFIANTLY TO HIS CONVICTIONS AND CONTINUED TO CREATE ON HIS OWN TERMS.

Over time, his social landscapes came to reflect a personal disdain for the trappings of mainstream logic and the stifling embrace of conformist culture in the modern era. Indeed, the expressive countenances of his subjects remained perpetually veiled, rendering them anonymous entities melting harmoniously into the amorphous sea of humanity — each spirit intertwined, personalities eclipsed. Yet, within the multitude, Sang Won discerns a realm of upliftment, where one and all find solace in the shared pursuit of leisure and the art of detachment from the relentless cadence of daily toil. Irrespective of the superficial distinctions of wealth, status, and the intricate power dynamics at play, the people in his pieces exist as equals, unified momentarily in the universal pursuit of human happiness.

Aquarium (2015). Watercolor on Paper. 20 x 30cm.

The Red (2009).

Oil on Canvas.

ANNA JUNGSEO

BLEND INTO THE MELTING POT OF URBAN LIFE AND EMPATHIZE WITH THE NARRATIVES OF STRANGERS IN THE STREETS

I n the evanescent tapestry of fleeting daily encounters, Anna Jungseo is drawn to the theatricality of human behavior. Her captivating sociological works are inspired by rapid-fire observations on the bustling streets of London, a city where she has lived and worked for the last 20 years. Anna’s life has been punctuated by the theme of dislocation. This dislocation, whether a psychological shift, an emotional pivot, or a geographical traverse, often reinforces an unsettling sense

of separation between the people and places that constitute her life. To ease the tension, Anna creates on impulse, fleshing out a refreshingly honest anthology of sketchbook portraits that dramatize raw moments of vulnerability, idiosyncratic scenes, and the most exquisitely awkward of interludes. Although loaded with kneejerk assumptions of madness, misfortune, avarice and pride, Anna’s works underlie a desire to connect with the echoing footsteps beyond her London studio walls.

THE MAN IN A GREEN HAT (2020).

Oil on Paper. 35 x 27cm.

Sustained by the tempo of rush hour commutes, kaleidoscopic street markets, and the jovial buzz of thrill seekers after dark, her art helps her to peel back layers of human interaction and examine personal prejudices that so frequently elude facile articulation.

Oil on Paper. 23 x 16cm.

BIRD WOMAN (2020).

Oil on Paper. 26 x 18cm.

DEEP EYES (2021).

YELLOW FAUN (2019).

Memories (2022). Acrylic on Canvas. 91 x 72cm.

Acrylic on Canvas.

PERMEATION (2021).

KYUNG-SOOK NAM

LET THE TRANQUILITY OF ISLAND NIGHTS EASE YOUR HASTE AND ILLUMINATE YOUR SKIES

K yung-Sook Nam is a painter and proprietor of an art atelier nestled on the captivating island of Gadeokdo, a place where the union of sea and mountains manifests in exquisite outbursts of rugged natural harmony. As the largest of Busan’s islands, Gadeokdo is a locale in perpetual transformation, swept by the winds of change. At the same time, Kyung-Sook cradles a simple longing: to dip her toes into pristine waters, savor the briny essence of seaweed-scented air, and above all, safeguard the unspoiled wonders of her humble island abode.

Waves (2019). Oil on Canvas.

GADEOKDO’S HISTORICAL TAPESTRY IS MARKED BY EPOCHS OF PREHISTORIC SETTLEMENTS AND THE WEIGHT OF JAPANESE OCCUPATION.

Island Village (2021). Oil on Canvas.

Acrylic on Canvas.

DUSK (2021).

Yet, in the twilight hours, Kyung-Sook often stumbles upon clusters of primroses, like the spirits of her forebears, resolutely blooming amidst the darkness. With meticulous knife strokes and the repetition of her brush, she seamlessly blends floral majesty into her dreamlike seascape, offering a poignant tribute to the memories of yore and enshrining the enduring spirit of Gadeokdo.

Oil on Canvas.

PRIMROSES (2020).

ONCE A TRANQUIL HAVEN FOR THE LOCALS, THE ISLAND’S SHORELINE HAS WITNESSED AN INFLUX OF VISITORS IN RECENT TIMES DUE TO THE CONSTRUCTION OF A NEW AIRPORT, WITH MANY NOW CAMPING ALONG ITS PERIPHERY TO PARTAKE IN THE RESPLENDENT HUES OF CHEONSEONG PORT AND A GADEOKDO DAWN.

Off the map, Kyung-Sook enjoys absorbing the gentle radiance emanating from distant dwellings, momentarily surrendering herself to the celestial canvas above. Through the deft application of overlay modeling paste and a liberal smattering of shimmering dust, she conveys a profound sense of solace, bidding adieu to those particularly hectic and tumultuous days. Kyung-Sook’s artistic vision captures the undulating waves and subtle dynamism of planes and cargo vessels as they traverse the skies and seas. While the mainland whirls in a frenetic cadence, the people of Gadeokdo move around with eyes wide open. For now, mural villages nestle against soaring peaks, Mother Earth’s emotions intermingle, and the human and animal inhabitants coexist harmoniously, bound by reciprocity and an ethos of sustainability that will hopefully stand the test of time.

Acrylic on Canvas.

SUNSET (2021).

Silver Grass (2021). Ink Wash on Hanji. 100 x 100cm.

Ink Wash on Hanji. 50 x 50cm.

LAKESIDE (2020).

SOYOUNG KWON

ANSWER THE CALL OF THE WILD AND FOLLOW THE TRACES OF INK TO SHELTERS AND HIDEAWAYS UNKNOWN

S oyoung Kwon, a true ink wash wanderluster, embarks on a painterly odyssey that captures the very essence of her connection with the natural world. While her compositions seem to emanate an air of profound serenity, this initial sense of calm belies the intricate currents that flow beneath her brushwork – a melodic interplay between creative expression and the intrinsic rhythms of Mother Earth.

SOYOUNG’S ARTISTIC PILGRIMAGE LED HER TO THE HEART OF THE AUSTRALIAN OUTBACK, WHERE AN EMOTIONAL DELUGE ENVELOPED HER SENSES.

Cooks River (2020). Ink Wash and Pigments on Hanji. 145 x 180cm.

Secret Forest (2021). Ink Wash on Hanji. 76.5 x 173cm.

In harmony with the sun’s rays, she felt compelled to uncover the many hidden stories etched upon the terrain’s rugged visage. Beneath the blazing Antipodean sky, her gaze penetrated the sinews of the land, unraveling the vestiges of those who once traversed these ancient pathways. It was in this untamed wilderness that Soyoung expressed an alternate reality upon the delicate confines of hanji – an ethereal expanse wherein the unspeakable finds a resonant voice and the meaning of her own existence is eloquently reaffirmed.

Through her deft application of ink, each painting invites the viewer to navigate an intricate landscape of sensations. Suddenly, her blend of ink and sentiment serves as a poignant reminder, urging us to reconnect with our origins, nurture our inner roots, and rediscover the immutable truths that lie beneath the surface of wild and barren soils.

Ink Wash on Hanji. 72.7 x 116.8cm.

PINE HARMONY (2021).

JAEYOUN SHIN

LIBERATE YOUR GAZE FROM THE HAZE OF EXPECTATIONS AND REVEAL A DEEPER SHADE OF YOU

POACHING IN SILENCE (2022).

Gouache on Paper. 100 x 80cm.

D uring her time in the United States, Jaeyoun Shin found herself embroiled in a myriad of cultural collisions, a highly demanding coming of age infused with the undercurrents of social anxiety. Despite flashes of togetherness, Jaeyoun would often retreat into a protective cocoon for long periods of self-imposed isolation. It was during these darkened intervals that she grappled with a disturbing revelation: that she had become a product of othering, a mere projection of the labels and stereotypes affixed to her each day.

Through the Looking Glass VI (2022). Acrylic on Canvas. 73 x 50cm.

In Your Wonderland (2021). Mixed Media on Black Paper. 35.5 x 50cm.

In a poignant act of creative rebellion, Jaeyoun unearthed in art a powerful medium for interrogating the maelstrom of negative perceptions, haunting obsessions, and tumultuous emotions that had taken residence in the recesses of her mind. Instead of succumbing to the allure of an idealized reality, Jaeyoun’s artistic lens deliberately fixates upon the imperfections, impediments, looming threats, seductive temptations, and moments of weakness that pervade the human journey. As a silent yet astute observer, Jaeyoun charts unconventional pathways to break free from her chrysalis, striving towards a truer manifestation of selfhood.

Through her animal-laden mindscapes, she shares the indelible marks of a deeply personal quest for meaning at the intersection of East and West. She also speaks on behalf of the fallen ones who longed to belong. Unveiling a tapestry of human fragility, she erases the demarcations that separate the familiar from the alien, and evokes a sense of solidarity when it matters most.

Allegory (2022). Acrylic, Modeling Paste, and Gold Leaf on Paper. 100 x 80cm.

Now on Sale (2022). Gouache and Pen on Paperi. 43.6 x 58.7cm.

on Paper.

I DO NOT BELONG HERE (2016).

Gouache and Gold Powder on Hanji. 132 x 132cm.

LUCY SSON

DEPART FOR DISTANT SHORES AND FIND A PASTEL PERFECT UNIVERSE TO CALL YOUR OWN

I n Lucy’s hands, the Minhwa tradition becomes a vehicle for candid expression, a delightful exhalation of the humor and unadorned desires of ordinary folk. Like a temporal voyager, she conjures visions of her ancestors, resurrecting their voices to resonate through her contemporary canvas. Beyond imitation, she takes flight into the boundless realms of reverie, interpreting nature, human energies, and the whimsical menagerie of Jeju Island that graces her daily life.

The Creation of Jeju (2020). Pigments on Hanji. 113 x 222cm.

“THE BROTHERS’ COASTAL ROAD” (2019)

Lucy infuses old school imagery into her landscapes and employs traditional materials and techniques in a manner that caresses the sensibilities of a new generation of art connoisseurs. She starts by grinding powdered pigments into a vision of chromatic serenity, intertwining them with glue so as to create the most stunning liquid hues. She then layers these pigments on hanji,

where memories and emotions metamorphose into something ineffably enchanting. It is a tableau of fairytales woven into reality, an extraordinary space where deep-sea diving grandmothers commune with Hareubang stone guardians, and quirky felines in inflatable unicorns cavort in celebration of the island that has painted Lucy’s life with joy since day one.

The Four Colors of Jeju (2020). Pigments on Hanji. 99 x 120cm.

Purple

Map of Jeju (2018). Pigments on Hanji. 91 x 130cm.

HYUNJU KIM

PLUNGE INTO ZINGY POOLS AND WATCH THE ESSENCE OF YOUR DREAMS RISE TO THE SURFACE

A s a practitioner of the Korean jinchae technique, Hyunju Kim is influenced by the fragrances, hues, and subtle resonances unearthed during her worldly explorations, transmuting the bounties of nature into a veritable cornucopia of sumptuous fruits for the soul. In a masterful flourish of mineral pigments, often infused with a touch of grandeur and a hint of sun-kissed radiance, the nectar of her vibrant motifs cascades forth in a profusion of abundance, converging harmoniously into the fabled Eastern paradise known as Mureungdowon.

PARADISE GARDEN I (2022)

Mixed Media on Canvas. 31.5 x 31.5cm.

GREEN LIGHT (2022).

With a fun-loving verve and a consummate finesse reminiscent of the silkiest of brushstrokes, Hyunju cracks open a gateway to an eternal expanse where mundane rhythms subside and hopes of liberation materialize in moonlit skies. Her peach-drenched paradise is a fantastical land of pure enchantment, a realm where visual morsels bear fruit and boundless potential is waiting to be tapped.

Paradise Garden II (2022). Mixed Media on Canvas. 33 x 33cm.

Mixed Media on Canvas. 45.5 x 45.5cm.

NIGHT GARDEN II (2022).

YUNI LEE

SWIRL WITH FLYING COLORS AND TOUCH DOWN IN PLACES YOUR HEART DESIRES

P er Yuni Lee’s calculations, a unit is a house simplified in pentagonal form, while a mass refers to a visual assemblage of units harmonized through lines, colors and planes. These elements, integral to her “Icon B” project, embark on a transcendental journey, shape-shifting freely between ethereal domains, all the while revealing glimpses of Yuni’s life and emotional landscape over time.

In the shadow of the mountain, Yuni found herself captivated by the distinctive contours of the terrain, and there, nestled like the vibrant Lego blocks of her childhood, lay a cluster of diminutive houses, vertically stacked. This residential assortment took form as a mass within her creative psyche, and through vivid flights of thought, she orchestrated the units to pirouette on command.

Icon F3 - End of the Ground (2021). Mixed Media on Canvas. 116.8 X 80.3cm.

Acrylic on Canvas. 90.9 x 72.7cm.

ICON B19 - OSLO (2019).

Acrylic on Canvas. 162.2 x 130.3m.

ICON B9 - BRUSSELS (2018).

Icon B40 - Seoul (2020). Mixed Media on Canvas. 61 x 73cm.

SUDDENLY, THESE DYNAMIC STRUCTURES COMMINGLED WITH THE PHANTASMS OF PEGASUS, THE AUDACITY OF ICARUS, AND THE CHILD-LIKE INNOCENCE OF PETER PAN, ALL CONVERGING IN A MESMERIZING URBAN CHOREOGRAPHY.

Further inspired by Wassily Kandinsky’s “Circles in a Circle,” Philip Reeve’s “The Hungry City,” and Miyazaki Hayao’s “Howl’s Moving Castle,” Yuni christened these captivating moving parts, “Icon B.” From her inaugural masterpiece, “Icon B9 – Brussels,” Yuni’s Icon series has emerged as a cartographic puzzle, a kaleidoscope of cities around the world that relocates the audience to a stimulating third realm. Along the corridors of memory and amidst the landmarks of her past, Yuni’s units inspire us to explore and see the world in quintets of color like never before.

ACRYLIC ON CANVAS

SUJEONG JIN

WHEN THE LIFE OF A NOMAD COMES TO A CLOSE, YET ANOTHER BEGINS TO UNFOLD

S ujeong Jin employs abstract paintings as a visual chronicle of her life’s many intrepid voyages. Over the years, she has shaped her artistic narrative in diverse settings, ranging from a private studio on Yeongjong Island, to a lakeside retreat in Heungup village and even a co-working enclave on the cusp of Seoul’s eclectic Hongdae neighborhood. In a quest to catalyze inspiration, Sujeong traverses variegated landscapes and surrounds herself with the ambient sounds of seasonal change. Her gaze, transfixed by the rhythmic swaying of fauna and the undulating cadence of the water, continues to guide and enliven the crux of her creative process. As a product of these many sensory vibrations, Sujeong’s abstract paintings spring forth as a bold and captivating testament to the enduring legacy of her nomadic journey.

AS A PRODUCT OF THESE MANY SENSORY VIBRATIONS, SUJEONG’S ABSTRACT PAINTINGS SPRING FORTH AS A BOLD AND CAPTIVATING TESTAMENT TO THE ENDURING LEGACY OF HER NOMADIC JOURNEY.

Sujeong’s creative consciousness is also ignited by the legacy of French luminary Henry Matisse, in particular his tenacious desire to pen new chapters and evolve artistically in the twilight of his career. With similar tenacity, Sujeong had the courage to explore her identity as a peripatetic artist during her later years, birthing a prolific output of over ten thousand artworks to date. Brimming with vitality and possessing an uncanny openness to interpretation, her oeuvre radiates the timeless truth that the pursuit of one’s aspirations knows no temporal constraint – a potent reminder to chase and express one’s creative passions regardless of the hourglass’s sands.

Oil on Canvas. 100 x 80.3cm.

FREEDOM OF NOMADISM (2022).

A Winter Night’s Story (2021). Mixed Media on Canvas. 80.3 x 116.8cm.

YUN JONG

LIFE GOES ON, BUT THE ALLURE OF HOME KEEPS YOU COMING BACK FOR MORE

In her enchanting “Letters from Childhood” series, artist Yun Jong is inspired by the multi-sensory scenes that unfold beyond her car window during seasonal visits to her parents farm. From the fragrant blooms of spring and

the succulent fruits of summer, to the bountiful autumnal harvests and sweet potatoes roasting under wintry skies, her evocative landscapes pay tribute to the intricate splendor of the Korean countryside she once called home.

Mixed Media on Canvas. 80.3 x 116.8cm. A

Oil on Canvas. 162 x 112cm.

A FAMILIAR YET UNFAMILIAR SCENE (2021).

While the realities of Yun’s childhood are certainly rough around the edges, and at points, forgettable, she continues to recognize their indelible role in shaping her identity in the present. In this profound realization, her works come together to paint a poignant homage to the tireless toil of individuals like her parents, whose unyielding labor remains deeply etched in the annals of rural history.

PAINTED WITH LOVE AND LAYERED WITH NOSTALGIA, SHE REKINDLES IN OUR HEARTS THE DORMANT YEARNINGS FOR THE PASTORAL EMBRACE OF TIMES GONE BY.

Landscape from Childhood II (2021). Mixed Media on Canvas. 50 x 116.5cm.

VNV Art Awards

"Special Places"

The VnV Korean Art Awards offer creative professionals a chance to unleash their artistic talents on the global stage. Encompassing a range of visual expressions and accommodating diverse mediums, styles and approaches, we invited artists nationwide to share with us works that breathe life into Korea’s most special places. From beloved urban nooks to secluded sanctuaries in nature, the winning submissions are infused with cultural nuances, personal narratives and intimate reflections guaranteed to captivate your imagination and leave you wanting more!

VNV Special Places Award Winner, Serang Cho.

GRAND WINNER

CONGRATULATIONS TO THE SPECIAL PLACES AWARD GRAND WINNER, SERANG CHO. OUR JUDGES WERE MESMERIZED BY SERANG’S ABILITY TO SHOWCASE THE TRANSIENT ENERGY AND INTRIGUE THAT ABOUNDS IN HER HOMETOWN OF PAJU, SOUTH KOREA.

Chinese Ink and Pigments on Paper. 34 x 49cm.

THE MORE IT'S KICKED, THE BIGGER IT GETS_GYU (2021).

Paju is a unique city located close to the Demilitarized Zone (DMZ), Panmunjom and the Joint Security Area (JSA). It is a borderland where North and South Korea meet in precarious fashion, and a place where visitors can experience the tumultuous history of a ruthlessly divided nation. Observing the hermit kingdom of North Korea from afar, one is constantly reminded of the scars and conflict that endure to this day. As a resident, Serang notices the lingering traces of war as they bleed into the beautiful landscape all around. Within this space, she is inspired by the intersections of tradition and modernity, local ties and transnational mobility, and rural and urban life.

SERANG_CHO

Chinese Ink, Pigments and Collage on Paper. 70 x 95cm.

PAJU BEADS (2017).

Chinese Ink and Pigments on Paper. 35 x 25cm.

THE MORE IT'S KICKED, THE BIGGER IT GETS_SOHN (2021).

Chinese Ink and Pigments on Paper. 116 x 48cm.

THE MORE IT'S KICKED, THE BIGGER IT GETS_RYUH (2021).

Using traditional Korean, Chinese and Japanese ink, as well as various coloring, marking and paper-laying techniques, Serang visualizes the spirit of constant change. She converts anxieties and confusions into creative fragments; torn apart, colliding, recombining, and reconnecting to unravel possibilities previously unknown.

Pigments on Paper. 96 x 107cm.

THE ROAD - PAJU (2018).

Space 2022-19 (2022). Oil on Canvas. 33.4 x 72.6cm.

Oil on Canvas. 33.4 x 72.6cm.

SPACE 2022-18 (2022).

RUNNERS UP

SPECIAL CREDIT ALSO GOES TO OUR RUNNERS UP AND THEIR HIGHLY EVOCATIVE PAINTINGS. WHETHER REKINDLING CHILDHOOD MEMORIES OR FLESHING OUT SOCIAL CRITIQUES ON CANVAS, OUR JUDGES PRAISED ALL THREE ARTISTS FOR THEIR INNOVATIVE APPROACH TO THE CONTEST BRIEF!

Space 2022-20 (2022). Oil on Canvas. 40.9 x 53cm.

FOR SOO-YEON KIM, SPACE IS THE FUNDAMENTAL FRAME FROM WHICH TO UNTANGLE A COMPLEXITY OF HUMAN INTERRELATIONS.

From everyday relationships to the power dynamics that pervade, her works visualize the hidden depths of human activity, at the same time highlighting the similar yet intrinsically different states of mind that inhabit particular spaces at a given time. In Soo-Yeon’s “paradox of space,” each of us is free to experience the same physical space on our own aesthetic and sensorial terms.

In her Jeju collection, Soo-Yeon attempts to celebrate the sea, forests, and rapeseed flowers that define the island. While applying multiple layers of oil paint, she allowed her memories of Jeju to rise to the surface, converting the most dominant sensations into bright and distinct colors and blocked spatial arrangements and forms.

The judges were impressed by how Soo-Yeon boldly mirrors the gaze of others from afar, and in doing so, crafts a profound landscape of solidarity in which to unearth the joys and vulnerabilities of locals, tourists and wanderlusters alike.

ARTIST_LIMSUJUNG

Sujung Lim is fascinated by the various objects that modern people desire to the point of excess. In this piece, she depicts Centum City, one of Busan’s wealthiest hotspots since the mid-2000s. What caught the judges attention was Sujung’s main protagonist, a female subject and Busanese local consumed by the endless pursuit of materialism, social climbing, and an ever-present need to look a certain way in the eyes of others.

ARTIST_INHWA_HAN

AS A LIFELONG BUSAN RESIDENT, ARTIST INHWA HAN STILL REMEMBERS THE EXCITEMENT SHE FELT ON GROUP MOVIE DAYS BACK IN HIGH SCHOOL.

Although being stylish was challenging in school uniform, she would fancy up her hair and dash off to the theater in the eclectic district of Seomyeon. Inside, Tom Cruise’s smile brightened her day, and outside, the local book stores and street stalls forever deepened her passion for art. In this truly spectacular piece, Inhwa places a man from Busan at center stage. The judges were taken aback by this super cool navigator, his hair styled into a map of the city, with roads, buildings, signboards and local energies all highlighted within.

Acrylic on Canvas. 116.8 x 91cm.

A MAN IN DOWNTOWN BUSAN (2021).

ON THE