Mirror Drawing #4 / 2011
unique plywood, mirrors, lights, 31 x 25.75 x 5.25 in

Chul Hyun Ahn is a member of a group of young light artists including Olafur Eliasson, Ivan Navarro, Spencer Finch, and Leo Villareal. Ahn creates meditations on zen notions of the infinite and the void which distinguishes Ahn's oeuvre from other artists working with light.

Ahn’s multiple on-going sculpture series including "Forked Series" and "Tunnel Series" systematically explore the limitations of space and optics.

Void / 2011
cast acrylic, mirrors, lights, 230.4 x 181.6 x 31.8 cm, 3ED 1AP

Hilarie M. Sheets, contributing editor of ARTnews who also writes regularly for The New York Times, Art In America, and Art + Auction, said his work is "At once thrilling and ominous, it suggests a rabbit hole to another world—underwater, outer space, afterlife—or journey to the unknown, the kind of leap of faith involved in the artist’s own passage to an unfamiliar country and language."

Mirror Drawing #2 / 2011
plywood, mirrors, lights, 45.5 x 45.5 x 5.5 in

As a pillar in the resurgence of light art, "Ahn creates sculptures utilizing light, color and illusion as physical representations of his investigation of infinite space." Ahn lives and works in Baltimore, Maryland where he is represented by C. Grimaldis Gallery.

Evergreen Tower    2001 Multi slide projection, c-print, 32 family portraits

Jung Yeondoo is one of Korea´s outstanding photo artists. He photographed people enjoying ballroom dancing in their spare time in the 2001 work "Borame Dance Hall." In the triennial exhibit, "Evergreen Tower," he selected 34 households from within typical rented apartments, took photographs and created artworks out of them.

The Korean photo artist Jung Yeondoo is portraying Korean and Asian life styles. His artwork entitled the apartment "Evergreen Tower" of Gwangju in Korea, has drawn substantial focuses to the local media and the art community. "Evergreen Tower" is a work of thirty-four families´ portraits of the same apartment.

This work has presented different family living style and social background from one typical public housing. Through his work, Jung has came across the discussion of hierarchy, space and status of life. Jung tried to arouse people´s consciousness on life and desirous of inner paradise by taking the opportunity of acquaintance with the resident, the congested living space and the similarities of live experience.

He has made a Hong Kong version of ´Evergreen Tower´ of his perception of Hong Kong society. The work will take place in local public housing estate with more than fifty invited families to take 8¨x10¨ "free of charge" priceless family portraits. The exhibition will be entitled to the estate´s name. It is to foresee the exhibition will bring the cultural of Hong Kong public housing estate to be one of the bookmarks of the world art history. This program actually has already aroused the housing estates residents respond and applause. It is a valuable chance to provide a family gathering opportunity by giving a free family photo taking in such special purpose.

Yeondoo Jung

The concept provides a man, 6 m high, bowing in a typically Asian greeting gesture. The blue color means lack of prejudice.

In October 2012 a statue was unveiled in the neighbourhood of Buceo, Montevideo, Uruguay, as part of a planned world series in multiple locations.


Culmination Ⅲ, 90x90cm, Acrylic&pencil on unprimed canvas, 2013

Culmination Ⅰ, 160x150cm, Acrylic&pencil on unprimed canvas, 2013

4th Nature Ⅱ,160x150cm, Acrylic&pencil on unprimed canvas, 2013

Personified Memory piece I, piece1, Acrylic & digital print on, micro fibre, 160x130cm, 2010

Personified Memory piece I, II, III, IV, Acrylic & digital print on, micro fibre, 160x130cm, 2010

Jeong was born in Seoul, South Korea, but has lived in London since 2005. She has studied at Ewha Womans University (Seoul), Slade School of Fine Art, and Goldsmiths.

Solo exhibitions include Axonometric, Sumarria Lunn, London (2011). Jeong has exhibited in group shows including the Threadneedle Prize, Mall Galleries in London, and the KIAF – Korea International Art Fair, with SUMARRIA LUNN//Hanmi Gallery, Seoul (2010), Invisible Bond, Korean Cultural Centre, London (2010), T-R-A-C-E, Shan Hyu Museum, China (2010). Yun-Kyung Jeong is the recipient of a number of awards including the Songam Artist Prize and the Joongang Fine Art Prize in 2011.

Yun Kyung Jeong

phase of the moon . 2010 40cm x 55.5cm mixed media on paper

phase of the moon . 2010 collage, low-density polyethylene 37cm x 27cm x 15cm

measured emotions . 2009-2010

My work has involved the creation of conceptually based psychological objects and I use many geometric lines which helps me express my subconscious mind.

We can see people’s face emotions but how about if we can measure their emotions through shapes of geometry? Our emotions play an important role throughout the span of our lives because they enrich virtually all of our waking moments with either a pleasant or an unpleasant quality. I was wonder if we can measure our emotions with shapes of geometry.

To realize this emotional state in geometric shapes, I use many other type of colors and patterns papers cutting out images from magazines or vintage books using collage technique with mixed media such as oil painting or an acrylic.


Eva Eun-Sil Han was born in Korea where she lived for 27 years.  She was first introduced to collage in primary school. As a child she loved to play with papers, like “drawing paper, paper dolls, cutting them out, making their outfits.” She studied for two years at the Design Institute of Graphic Art in Seoul, Korea and one year at the L’Atelier d’Art de la Grange des Champs, Belgium.

Eva Eun-Sil Han

"Folding Surface 6.9" / 2012 / threads, UV light, Dimensions variable
Solo Exhibition "DIALOGUE LINEAIRE" / galerie laurent müller, Paris

”The virtual space is not existing for me, my art is analog“ – this is a very clear statement for someone who’s art is always being referred to as a translation from virtual aesthetic to an analog space. But Jeongmoon Choi is fighting against that and emphasizing the core of her work: space.

"Construction" / 2011 / approx. 30 sqm space, threads, black lights
Exhibition “AMARCORD” / Gallery Fellini, Berlin

Growing up in Seoul, Jeongmoon learned to deal with limited space in a playful way while thinking about its presentation as a way to define social relations. The dream of the South Korean artist back then, which was to wander around her drawings, has come true. Her installations made out of strings create another world that enables the spectator to have a whole new experience of space; almost like an invitation to meditate.

"8.9" / 2012 / threads, wooden frame / 200 x 130 cm
Solo Exhibition "DIALOGUE LINEAIRE" / galerie laurent müller, Paris

What is really special about Jeongmoon’s work is the relation between material and effect, which is also proven in her current work “Drawing in Space“. Jeongmoon gets her inspiration from the constant transformation of her urban environment. But this doesn’t necessarily always lead to something positive. She has witnessed a myriad of changes in Berlin, where she has lived for over ten years now. Unfortunately, Jeongmoon’s atelier in Prenzlauer Berg, a mix of laboratory and workshop will soon fall prey to the redevelopment wave.

"Birdcage" / 2006 / threads, black lights / approx. 16 sqm space / 3. Berliner Kunstsalon, Berlin

Berlin based artist Jeongmoon Choi latest installation is pretty outstanding. Her 3D UV lights + Thread Installation dresses rooms by creating shapes and mapping with threads that she illuminate with UV lights. A genius concept that create beautiful 3D visual effects.

Jeongmoon Choi

Rude Dog Acrylic, on canvas_130x194cm_2010

Excrement of an Artist, Acrylic on paper_194x97cm_1999

A Leper in the Field, Pencil on paper_109.5x79.5cm_1990

Ahn Chang-hong, both in his own self and in his works, is a typical loner. Traces of wretchedness and splendour can be found alike in his paintings and the artist's obsessive interest in desertion and loneliness, alienation and anxiety, the bestiality of human character, fear and tragedy are displayed.

Through perverse and twisted portraits of himself and his family, An has already expressed his fear of and distance from the already torn-apart outside world. The fear that had made the eyes of the family members black and their mouths
wide open might yet be drawing a dark shade over his soul.

This dark aspect of An cannot wholly be admitted to his personal history or character.
It is often interpreted that the shades in our historical life, especially our gloomy social consciousness, that carries a weight with them, are reflected in his works. His method of representation, however, is far from being true to circumstances.

His inclination is more towards transforming reality into fables. In this transformation, An gives a dashing display of the fundamental tragedy of human character, the never-to-be-healed distortion in human character. This is the very reason I believe An Chang-hong is one artist whom we should cherish and remember.

Faces, Bodies, Souls, and a Life Story of One Artist

Ahn Chang-hong

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