Monday, March 12, 2012

Jeon, Kang ok


기울어진 사물/ 가변설치 / 오브제/2011

풍선과 큐브 / 150×62×56cm / 철, 합성수지, 우레탄 도색/ 2011

서 있는 물 / 230×127×83cm / 철, 우레탄 도색/ 2011

무게의 논리 II / 185×144×144cm / 철, 우레탄 도색/ 2009

▲가리센다의탑

▲기울어진 책장



 Destabilization, instability, rupture, collapse

The concept of balancing mass and weight is revealed through the use of gravity in the sculptural pieces. The three-dimensional object remains in a state of equilibrium and stability. (Equilibrate, destabilize, balance, counterbalance, stabilize). Weight is of primary importance for the balancing of the sculptural elements, calling forth not only the balancing of physical mass, but also the notion of psychic harmony. Without weight, there is neither elevation nor equilibrium.
However, creating a situation in which gravitational forces are visibly called into play results in the experimentation of sculptural forms which both embody movement and reveal a potential risk : in an unstable state, they could collapse. Adapting the sculptural forms to gravitational pull leads to the search for a point of non-static convergence. It thus becomes possible to create sculpture that exploits the forces of gravity ≪ hidden ≫ within the materials used. The interplay of sculptural elements sustains the elevation, yet also favors the intervention of dark, fatal forces : the fall. Conversely, how is the sculpture able to use instability ? The physical arrangement of forms is such as to spectacularly heighten the effects of gravitational pull : counterbalancing, destabilization, instability, rupture, collapse. The sculpture is an expression, an event and an accident of gravity. Of course, testing the limits of equilibrium can lead to the destruction, real or symbolic, of the work. The inherent risk no longer involves imaginary weight but real weight. There is a genuine risk of collapse.
The search for another way of seeing and of making sculpture is implied through the challenge to the law of gravity, through the precarious balancing of forms. Adhering to a philosophy of ruin is a way of asking the probing and fundamental questions necessary to exploring the relationship between art and the physical cognition inherent in artistic practice.  (JEON Kang-Ok)



JEON Kang-Ok


Solo Exhibitions

2011: Gravity-Inclined Landscape, Ujung Art Center

2010: Gravity, Unbalnced Standing, Grimson Galleries, Seoul

2008: Gravity, Kwanhoon Gallery, Seoul

2007: Laputa II, Lagalerie, Paris, France

2007: Laputa, Espace Icare, Issy Les Moulineaux, France

2005: Salon MAC 2000, Espace Champerret, Paris, France

2002: Balance Instable/Play Divine, MJC Center of Culture, Sceaux, France

2002: Life is Hanging by a Thread. Lagalerie, Paris, France

2002: Multi media 3 (Gravity/Lightness), Donzé Van Saanen, Lausanne, Suisse

2001: Suspend Time, Le Grand Cordel Gallery, Rennes, France

1997: Gravity/Literality, Art et Essai, Rennes, France

1996: Metallic Serpent, Art et Essai, Rennes, France


Selected Group Exhibitions 2011:

-Gift, Seoul Auction, Seoul

-Open Studio, Jang-Heung Sculpture Atelier, Jang-Heung Korea

-Korea International Art Fair, COEX, Seoul

-Recommend a the Artist, Gallery Forest, Seoul

-Dream of Cracker, Beach of Gog-Ji, Tae-An

-International Sculpture Festa, Seoul Art Center, Seoul

-Korea Galleries Art Fair, Coex, Seoul


Residencies

2012-: Rich Studio (Crown Hai Tai)

2009-2011: Jang-Heung Sculpture Atelier, Jang-Heung Korea

2007: Goyang National Art Studio, 4rd long-term Artist

2006-: Atelier des Arches, Issy Les Moulineaux, France

e-mail: dada828@hanmail.net

Kim, Hee soo

▲Greeting, 2011 (168x168cm, oil on canvas)

▲Face, 2011 (91 x 61 cm, oil on canvas)

▲Chuck, 2011 (56 x 71cm, oil on canvas)

▲Boy on Horseback, 2008 (102 x 76cm, oil on canvas)

▲City Hooker, 2008 (152 x 122cm, oil on canvas)




Hee-Soo Kim: A Happiness Verging on Joy



Hee-Soo Kim was educated in Korea, but has made his home in Union City, New Jersey, close to New York City, for a long time. He epitomizes, both in his work and in his person, the artist as free spirit, someone for whom the world is entirely delightful. In his paintings, which more than a few of us would characterize as naive or outsider art, we see an ebullient enthusiast at work; the happiness in his art is palpable and more than likely underscored by Kim’s rough, seemingly untutored style. Yet we know that Kim has made a choice to work as if he were unskilled; in fact, his abilities are not in question (Kim earns a living doing highly developed figurative drawings of tourists in the center of New York). He has a flair for the comic, nearly surrealist creation of basic forms, which he imbues with remarkable intensity and intense happiness, verging on joy.

The humorous, caricatured figures and forms we regularly see in Kim’s art present an innocence that appears untouched by modern and contemporary influences or by the market. His ingenuousness is unforced and genuine. In ‘Empire Dog‘, a woman dressed in a polka dot dress or leopard skin, wearing fishnet stockings and red high-heeled shoes, stands in the middle of the road. She is flanked on either side by buildings, while the sky is painted an angry, apocalyptic orange. Because the work has been painted in a naive style, a powerful experience results. The painting presents a streetwalker from the vantage point of a visionary stance; while we do not in fact know the details of her profession, we are certain that the figure embodies the rough-and-tumble, erotic energy of the city and its never-ending activities.

In another work, entitled Greetings, a cartoonish couple are portrayed as about to kiss. The man wears a baseball hat backwards; it is decorated with an American flag. He is touching the woman’s breast. By contrast, the woman wears a fanciful hat that looks like it is part of a bridge’s construction, while on either side of her, relatively high up on the painting, we see animals: a poodle on the left, and the head of a horse on the right. The numerals “1” and “2” also hang in the air of the orange background. The image, despite or perhaps because of its outlandish forms, is oddly affecting. In a deeper sense, the painting whimsically explores the moment when love becomes more than merely something declared, in fact turning physical. Kim is very good at eroticizing the world via a supposed simple presentation of life, yet his vision is highly compelling because of its directness. We happily witness his art’s mediation of reality through a rose-colored lens, which enables Kim to maintain a visionary innocence in his art. Other images by Kim recreate animals, sometimes more fanciful than real. It is extremely hard to project a believable naivete at this moment in time, given the art world’s market and penchant for cynicism, yet it is true enough that we need something to counter the spiritually jaded nature of the art world. Kim moves us, then, by his honesty and joyous images, which take the viewer to places hard to find in the twenty-first century.

Jonathan Goodman

Jonathan Goodman is a teacher and writer based in New York City; his specialties include sculpture and Asian and contemporary art. He is currently a professor at Pratt Institute.

Kim, Hee soo


1968 Born in Haenam, South Korea.
Live and work in the New York City metro area.
Education
1993 Graduated from the Painting Department, College of Fine Art, Chung Ang University, Korea
Selected Solo Exhibitions
2012 Gallery Soop, Seoul, Korea
2011 Gallery 1 & 9, Ridgefield, New Jersey
2009 Tenri Gallery, New York
2008 KCAF, Hangaram Art museum Seoul, Korea
2006 Space World Gallery, New York
2005 The Roger Smith Lab Gallery, New York
2001 Gallery Kavehaz, New York
2001 Solo Exhibition International Center, New York
Selected Duo Exhibitions
2008 Hee Soo Kim & Hee Sung Yang Mac Gallery, Pusan, Korea
2007 "Ing & Yang" Oms Gallery, New Jersey, New Jersey
2007 Hee Soo Kim & Sea Run Chun FGS Gallery, New Jersey, New Jersey
Selected Group Exhibitions
2009 “Chasing Dreams 56”, Gallery Maum, New York
2009 “Passion & Philosophy,” Yegam Gallery, Queens, New York
2009 “Faces & Facts,” Gallery Korea & Kim Po Gallery, New York
2007 “Object”, Hun Gallery, New York, New York
2007 “Korea NOW”, Hutchins Gallery, Long Island University, New York
2006 Oms Gallery, New Jersey, New Jersey
2005 East Here & Neo Latino, Gallery Korea, New York, New York
2005 “Connection”, Space World Gallery, New York, New York

Park, Kie soo

▲백두산Ⅰ 90.9×72.7㎝ oil on canvas 2008

▲산 이야기 90.9×72.7㎝ oil on canvas 2008



 
The Artwork of Park, Kie-Soo

The Spirit and Energy of Mountains

- Shin Hang-Seop / Art Critic





What does a mountain mean to people? It might not be considered as the universal question because people living in a desert or plain can not see a mountain all their life. For that reason, people living in the Korean peninsula where mountains were placed seventy percent of the country could be very happy in the fact of looking at mountains easily. It is necessary that we recognize mountains as the major term of nature.

Mountains are not only simply being for the beauties of landscape, but also offering multiple foodstuffs to people as an abundant habitat of animals and plants.

In addition, mountains are the mysterious vital habitats of all kinds of hidden creatures in it, giving multiple creative inspirations to the artists in art, literature, and music.

Above all, the artists seek the beauty can be strongly captured by the visual beauty of mountains.

It might be the reason why he has been seeking a mountain as the main theme on his painting, since Park Kie-soo has started painting. In his painting, we can meet the different view of mountain in comparison to common beauty of mountain. Mountains are transformed into the omitted, simplified and condensed image. It was expressed not a form of mountain in everyday sense, but the pictorial image. Therefore, we can not find the natural beauty in his mountain painting. The mountain was expressed by the formative analysis which completely different with a real nature.

Surely, he is not just painting of mountains. Sometimes, he paints a tree, wood, and a flower as the component part of mountain. In spite of that, his artistic image can be inseparable from mountain. It has the reason keeping on mountains as the theme of painting in his 20 solo exhibitions. He has his certain reason why he likes to paint a mountain, rather than that he simply likes mountains. Presumably, it might be connected with his personality.

During opening his 20 exhibitions, as seeing that he just put once the comment of art critic about his painting, because he doesn't like showing himself. However, he had actively exhibited his artwork so many times, and then he suddenly disappeared in the world of artists as the vestige which birds sits on the branch a short while.

We can guess easily about his temper which can be compared with the strong and determined like an appearance of mountain staying silently suffer hardships for a long time. It can be explained the reason why so many courageous men who are not artists frequently go in and out to mountain like their house, that can be explained the masculine power of mountain in catholicity, grandeur and silent. He was indulged in painting mountains during enjoying hiking in the mountains, not only the subject matter, but also the variable forms of mountain. In fact, it was occasionally changing the look depends on the change of seasons, which can offer an abundant subject matter and materials like a fountain that never dried out. Also similar to his lifestyle going regularly to mountain, he was inspired of mountains in the philosophical speculation, which found the other side of magnanimous mountain gathering all little creatures. Mountains have the plentiful nutritions, which evokes the artist's aesthetic inspiration to keep on his creative impulse.

So, the expression of mountain was reflected the artist's will on the painting to embody about the essential matter of life in simple artistic language which does not just simply represent the visual reality. Accordingly, he would express mountain in a general outline and thick matiere, away from perspective and chiaroscuro. It was condensed the inner world by sacrificing of the outer look of mountain constituting with a tree, wood and rock. Therefore, the images of multiple creatures constituting of mountain, that is, the details should omit or hide. Even though it is invisible, it is not nonexistent but contains in the condensed image. He tries to absorb mountains on his painting as the symbol of the endless catholicity that involves all creatures, the sublime appearance and the masculine power. Above all, it is the spirit and energy of magnificent of mountains that is the symbol of dynamic movement. To illuminate the essence of mountain in creative way, it could be limited to the expository real description. In other words, it can be contained the powerful expression of visual image, the sprite of life by the matiere revealing the physical power as it is, or the energy of mountain.

His work from the beginning to the present has been consistently painted in thick colors. And it was expressed in the strong brushwork beyond his capacity. It was achieved in the successive activity applying thick colors to the painting. This can be told about the moral question of expression. In the process of work, the form is out of consideration. The form of mountain was barely revealed by black outlines during repetitive thick brushing of colors. It can be found out that he does not care about the form of mountains, which is not important to enjoy his painting.

Although it has the difference depends on artworks, the touch of brush approaches in very delightful way. It can be stirred naturally the rhythm in the simple succession of the activity fully brushing colors without recognizing the form. The rhythmical touch is very natural. So to speak, the rhythm was related to the self-interest rising above self. The simple repetitive activity brushing colors can be promoted to unite body, emotion and soul together. The expressive achievement in this way is the rhythm of life. The original rhythm of life belongs to God moves into his canvas.

By the way, by this delightful touch, it contains multiple expressions. Depends on artworks, sometime the touch is big and rough, or soft and still. It is not existed any regular rule, but appeared a little different expression accompanying with the time and the instant inspiration during the work. Sometimes, a knife, or a thick brush used it. The image is different whether focus on the expressive emotion, or allow the important meaning to the appearance itself.

However, he focuses on the rhythm of life rather than the outer expression. He puts forth his whole energy into the inner spirit of great nature, that is, the rhythm strongly rocking like a pulse by the expression of brush. The matiere of canvas was made by the repetitive brushwork, and it is natural that the depth is getting deeper.

The layer of colors formed by the repetitive activity can be reflected the depth of mountain in the abyss. Like a geological stratum formed during several thousands.

By overlapping the rhythm of life, the depth of painting is also getting deeper. Although the Visual image, the figure of mountain is steadily simple, the certain absorption force capturing the viewer's mind was arisen in the depth from the layer of colors. It was emphasized the oil painting's depth made by oil colors, and the taste of oil painting. The existence of oily colors can be made by the thick matiere. Sometimes it was enhanced the degree of purity by using a pure color from tubes without mixing colors. As seeing a painting of van Gogh, the color image with a high degree of purity can be approached the fresh vitality of life. This expressing technique can be brought the delightful original spirit of nature, namely, it is the dynamic energy.

In recent his artworks, it shows something different signs in difference to the previous works. The analysis of form and the expressing technique are still there, but the outline is much more distinctive. Thus, the image of mountain and the existence are given stronger and more vigorous impression. Particularly, the outline that revealed more vivid in black can be remarkably suggesting the existence of mountain than the rhythmical sense by the previous brushwork.

In particular, the image of mountain landscapes in the theme of snow scene including Paekdu Mountain is distinctive. It can be summarized his pursuing creative world in obvious way in the snow scene of Paekdu Mountain with deep blue Cheonji and white snow and the black outline revealed the form of mountain.

Generally, it has a very simple landscape, but a very strong impression. In spite of a rare visual reality, it approaches the atmosphere that can not be found in the realistic description. It can be called as the magic of creation in the condensed image without any realistic image. Although the form of mountain can distinguish by the strong and broad outline, which contained the real image of winter Paekdu Mountain.

When we partly look his mountain painting, it can not reveal any specific form but just an abstract image. For that reason, it can be found out that he freely crosses the boundary between concrete and abstract through his mountain paintings.

Clearly, he pursues into the expression of real existence in difference to the unconsciousness or automatic expression. Therefore, it can be shown the clear difference with a pure abstract expression. Even though it strongly appears an abstraction, it is his understanding and impression about a real mountain by the hiking in the mountains. It can be explained about the reason that contains the existence of all creatures constituting mountains, without revealing the specific form.

Now his art is entering a new stage. It was already reflecting his new style in his recent artworks. By applying the outline in a clear way and the color in a simpler way, it is more moderate than his previous works.

It was related to the depth of speculation, for instance, the settlement of consciousness.

In short, it shows the reaching into the inner depth beyond a visual stimulus by moderating the physical power and tuning the emotion. 







박기수


경희대 교육대학원 미술과 졸업 ( 서양화 )

개인전 22회

단체전 500여회


대한민국 미술대전 심사위원역임

국제교류협회 미술대전 심사위원역임

국제아트페어 및 박물관전시(홍콩,이태리,오스트리아,캐나다,

러시아,몽골,중국,독일,프랑스)

국내아트페어 (화랑제,SOAF,각종 호텔아트페어)

Park Ki-soo
 
Graduated from Kyunghee University, Graduate School of Education with a M.A. (Western Painting)
* Solo exhibitions: 22
* Group exhibitions: 500 and some
 
* Member of the Jury for the Korea National Art Exhibition
* Member of the International Art Exchange Exhibition
 
* Participated in international art fairs and museum exhibitions (Hong Kong, Italy, Austria, Canada, Russia, Mongolia, China, Germany, France, etc.)





▲산이야기10호

▲백두산20호

▲독도Ⅰ 72.7×60.6㎝ oil on canvas 2008

Shim, Woong taik

▲체집일기11-13 p20호

▲체집일기11-8 p6호





A Thinking Song
The Pictorial Aesthetics of Shim Woong Taik
Written by Kim Byeong Su, Art Critic
I.
A serious song is a search for something profound. The paintings of Shim Woong Taik are lyrical poems just one step away from the trend, a world seemingly transparent, but in reality painted in dim white colours. It looks as if the world is gently uncovered, but it is nothing but an intended effect. Lines are drawn as if trying to erase something. The scenes depict chilly lyricism like water-colours, but, in fact, they thing of complicated and subtle sentiments with feeble power. They are a fateful softness. They are plants that think : none the less, it is not that the sensitive tendrils chaotically creep over everything. They are sometimes severed and they protrude, in a snap, out of the canvas onto somewhere in the white wall. What you see reveals what you do not see. This is the trail where the traditional concept of Northeast Asian painting encounter the world of cogitation.
II.
The lines and colours of Shim Woong Taik's paintings seem more attentive to melodies rather than rhythms. Instead of trying to heighten the human emotion with repetition or modulation of some musical notes, they rather impress the people with "singing talent." Love and similar traditional values constitute the main themes of heart-moving stories. A different approach of examination produces a new interpretation of this stereotypic theme. He said he did not want to leave the nature yet. Why is the nature suddenly brought up ? Is it about the "mountains and streams" once again? Is it about the nature as a moral perfection or the nature as a flawless phenomenon? He does not seem to insist in viewing the nature under such notions. His world of paintings is far from moral metaphysics. His sentimentalism is just an imagination about objects. A brook is a brook, a pollen a pollen and a spore a spore. Here lies his style of search. A search is not necessarily trying to get an elucidation from above nor a blind wielding of a sword. When asking a question, the target of question or, in other words, the object being questioned, should be protected. Anything that is asked about is important. It should be examined under the patronage of the questioners. This is the style of Shim Woong Taik's thinking. To him, the nature is "the world of materials." It means that his mentality still prefers analogical method and recognizes the existence of different route.
III.
A different road : we always look for it. Or rather we give up after searching for a while and peek into somebody else's road, wishing it to be my own. What do you feel when you hear the explicit outcry announcing the end of analogic way of thinking? What do you feel when even you become inclined to ridicule something analogic as too old fashioned ? We cannot just insist in old values, but the new world seems a bit too much to digest. At this time, solitude is the luxury of the strong. The rule of domination is still intact. Under such circumstances, it is really a "dream" to speculate on the world with paintings. Shim Woong Taik is a "dreaming plant." A dream creeps over the wall of reality, as if a vine gropes in the concealed back of cogitation. "I wanted to do drawing, but I ended up painting," he said, as if longing for the speculation of lines. Lines devide and direct, and at the same time, unveil. Escape from concealment ! An escape can be this beautiful. An intent to break loose from what is hidden. The sense of coolness when a line is drawn with a razor. The shade of lines be came a surface. A song sung is the shade, its sound is a language. Of course there are no lyrics.
IV.
We can learn without hearing. But, we cannot learn if we do not see either. Even when we see, we do not learn too many times. The paintings of Shim Woong Taek are a reflection of beauties of things that are not perfect, nor eternal, nor complete. If you see only the images of brooks, pollens or spores, you miss his songs and you are ignoring his cogitation. It is absurd as well to contrarily prognosticate that his real thoughts are oriented to infinity because his images have tendency of finiteness. What in the world is he singing about ? Is hi singing about a thought on emotion? Sensitivity communicates with the world, but is does not think. Thoughts ponder on the world, but they are not subtle. They are neither funny nor aesthetic. Shim Woong Taik's aesthetical thoughts are subtle, because they are stylish on the one hand and serious and profound on the other. They are twins with irresolute tact and old-fashioned attitude. Maybe that is why "spiritual attitude" is emphasized in the Northeast Asia. Many people express worries. But to the younger generation these worries are just gibberish. To those who can listen, however, they themselves carry meanings. Shim Woong Taek thus traverses the axis of Northeast Asian aesthetics.

심웅택 (Woong-Taik, Shim)


중앙대학교 예술대학 회화과 및 동 대학원 졸업

강원대학교 인문대학 철학과 박사과정(미학전공) 졸업

-개인전 20회

중앙미술대전 역대 대상 수상작가 초대전(호암갤러리)

대상 수상작가전 (국립현대 미술관)

현대 미술 북경전 (Space Da, 798)

한-러 작가 교류전 , 한-인도 작가 교류전

화랑미술제, 남송의 봄 전, China Korea Moren Art Fair(798 art center 706 hall),

상하이 Art Fair, 광화문 국제 아트 페스티벌 참가


SHIM, WOONG TAIK


M.F.A. College of Fine Art, Chung-Ang University

Ph. D Kang-Won University

Artwork Storage Space : Hoam Art Hall, Aners B.D.,

Korean Medical Assocition B.D.

Solo Exhibition 20 times

Awarded Grand Prize Jung Ang Grand Exhibition

Invitional Exhibition of Invited Superior Artist (O-Won gallery)

Invitional Exhibition of Grand Prize Artist Jung-ang Fine Art Public Subscription

Tae-Gu International Biennale Art Show

Preview of 150 Famous Artists(Lotte Art Fair)

China Korea Moren Art Fair(798 art center 706 hall)

Guang Hwa Moon International Art Festival

Gong Ju International Art Festival

Sang Hai International Art Fair

General Director Eco-Healing Sun-Yang International Installation Art Festival

Website http://shim.ivyro.net/





▲체집일기11-6 50호

▲체집일기11-4 p20호

▲체집일기 p20호11-6

JUN, KYUNG-HO (전경호 - 자연)_존재 (Nature-Existence)

 
 
자연_존재 (Nature-Existence) 색한지 116.7x80.3cm
 자연_존재 (Nature-Existence) 색한지 194.0x112.0cm


Individual authors note
Artists look to any destination at any time it boils down to the question of their existence through natural sikimyeo recognize their existence. As presented in this exhibition, works from a natural target as a new home samgo nature lives in the presence of nature and life through a self check and the natural order of things in life are created and destroyed by finding So basically natural can not be separated from the present to show symbolically that was called. The image revealed the intact nature, rather than advocate, a natural interpretation in the image with the image of the inner representation of the image expressed by the action of an abstract landscape is like.
Whether the multiple layers of color paste dyed with a sharp knife cut into the slope known as the multi-colored waves creating a delicate, it's on the screen horizontally and vertically arranged in a manner that the effects work and a variety of spaces in the tense representation was to . 20 stacked layers of color are dressed as if sections of the rule, such as sediment, horizontal and vertical rhythm while Ginny is spread out like ripples on top of the screen.
Land in the mountains, the natural form and movement of life, against a background containing the form of trees, fields, roads, winds flow zone without being tied to a fixed format is an attempt to seek novelty. And perfect for the existence of natural spontaneity and a sense of order, accompanied with its own unique way, and we tried to devise a new form.
Saekhanjiui strong contrast, the rough researched tactile performance, simplified geometry, and symbolized the harmony of colors, including warm condensed chansaekgwa beauty of painting is characteristic of this work immediately.
Visual images of the work to be felt in the natural folds of color reminiscent of faces, and a myriad of small wrinkles space-like nature unfolds. Color is a traditional ingredient in a mixture of modern materials depicted lines and faces as much as it can not be compared to what is natural.
Also, enjoy the scenery images that are representative in nature, to feel beautiful lines and dots and geometric iconography, gokseonhwa a straight line is condensed due to adjusting the strength of beauty that is the subject in pursuit of new forms of work, the dual narrative through time and space, and Eastern and Western sensibilities and a keen sense of inner harmony and lyrical expression by meeting the East was to represent the spirit world.
It haenaegi derive inspiration for new paintings exploring the life and work, and my part of efforts to unify is not only.

전 경 호  JUN, KYUNG-HO
1990중앙대학교 예술대학 회화과 졸업
1994일본 다마미술대학원 미술연구과 회화전공 졸업
개인전 (SOLO EXHIBITION)

2012 심상풍경. 기획초대전(에뽀끄 갤러리, 서울)
2010 통큰 갤러리 기획초대전(통큰 갤러리, 서울)
2008 이화 갤러리 기획초대전(이화 갤러리, 서울)
2007장은선 갤러리 기획초대전(장은선 갤러리, 서울)
대안미술공간 소나무 초대전(대안미술공간 소나무, 안성)
2003한원미술관 기획초대전(한원미술관, 서울)
COVAN ART GALLERY 기획초대전(COVAN ART GALLERY, Canada)
2002MOHRI GALLERY 기획초대전(갤러리 MOHRI 초대, 일본, 동경)
갤러리 ARTS WILL 기획초대전(갤러리 ARTS WILL, 서울)
2001MOTO 갤러리 기획초대전(갤러리 MOTO초대전, 일본, 동경)
단체전 (GROUP EXHIBITION)

2011 Art Syuthe전 (봉산문화회관 1,2전시실)
동강현대작가 초대전(영월문화예술회관)
2011 Who is Who전(호수갤러리)
2010 Art Syuthe전 (봉산문화회관 1,2전시실)
2010 협성대 교수작품전 (제3교육관1층 아트갤러리)
중국 하남사범대학교 미술학과, 협성대학교 예술대학 작품교류전시
(중국 하남사범대학교 전시실)
2010 Who is Who전(정글북아트갤러리)
2009 현대미술 한.일전 (한전프라자 갤러리 2층 기획전시실)
Art Syuthe전 (봉산문화회관 1,2전시실)
백석 예술대학 교수 작품전 (경향 갤러리)


JUN, KYUNG HO
1990B.F.A. Department of Western Paimting, College of Arts, Chung Ang University, Seoul, Korea
1994M,F,A. Completed the master Course in Fine Arts at Tama Art University, Tokyo, Japan
SOLO EXHIBITION

2012 landscape images. Planning Exhibition (eppokkeu Gallery, Seoul)
2010 Tongkeun Gallery Invitational Exhibition (tongkeun Gallery, Seoul)
2008 Ehwa Planning Exhibition Gallery, Seoul, Korea
2007Jang Eun Sun Planning Exhibition Gallery, Seoul, Korea
Planning an alternative art space, Pine Invitational, Anseong, Korea
2006Incheon Art Falr, Iacheon Culture, Arts Center, Incheon, Korea
2003Museum Planning and Exhibition Hanwon, Seoul, Korea
Planning Covan Art Gallery Exhibition, Canada
Sagan Planning Exhibition Gallery, Seoul, Korea
2002Mohri Planning Exhibition Gallery, Tokyo, Japan
GROUP EXHIBITION

2011 The Exhibition of Art Syuthe. BongSan Culture, Daegu, Korea.
emporary AContrtist Exhibition Dong Gang. Yeongwol Art Cultural Center. Yeongwol, Korea.
2011 Who is Who in (Lake Gallery).
2010 The Exhibition of Art Syuthe. BongSan Culture, Daegu, Korea.
Hyeopseongdae Faculty Exhibition 2010 (3rd Floor Education Center, an art gallery).
China Henan Normal University, Department of Fine Arts, University, work exchange exhibitions Hyupsung.(Henan Normal University, China ExhibitionHall) 2009 The Exhibition of Contemporary Art Korea. Japan. Kepoco Plaza Gallery, Seoul, Korea
The Exhibition of Art Syuthe. BongSan Culture, Daegu, Korea
The Exhibition of professor Works Baekseok Arts University. Kyung Hang Gallery. Seoul, Korea
2008 The Invited Exhibition of International Art Center 2008 China. Korea art Exchange Interchange. Peking International Art Center. Peking,China
The Exhibition of Art Syuthe. Dagu art Cultural Center. Daegu, Korea



▲자연_존재 (Nature-Existence) 색한지 194.0x112.0cm
▲자연_존재 (Nature-Existence) 색한지 91.0x65.0cm
▲자연_존재 (Nature-Existence 색한지 116.7x91.0cm
▲자연_존재 (Nature-Existence) 색한지 116.7x91.0cm
▲자연_존재 (Nature-Existence) 색한지 53.5x41.0cm