Aug 27 - Oct 19, 2024 Intro Catalog Installation Views Next [C1] New York REALITY + IMAGE: BEYOND THE BRICKS Aug 27 - Oct 19, 2024 Kim Kang Yong INTRO Gallery Chang is delighted to present REALITY + IMAGE: BEYOND THE BRICKS , a solo exhibition by Korean artist Kim Kang Yong. Kim Kang Yong is renowned for his captivating exploration of hyperrealism and the interplay between reality and image. He frequently uses the depiction of bricks as a metaphor for the boundary between the real and the imaginary. We invite you to join us and immerse yourself in this thought provoking experience. Kim Kang Yong’s approach to brick motifs underwent a significant transformation upon his arrival in New York in 2005. Kim stayed in New York for two years, during which the vibrant spectrum of brick colors in Manhattan inspired him to evolve from monochrome to multicolored works. This experience marked a pivotal shift in his artistic practice. Upon returning to Korea, Kim continued to experiment and enrich the depth and diversity of his expression. Kim’s brick paintings challenge the viewer’s sense of reality. Although they look incredibly realistic, they are virtual representations based on the artist’s imagination. On sand covered canvases, Kim employs shading to expertly produce the illusion of bricks, utilizing light and shadow to impart depth and texture. Shadows are essential in his work, defining surfaces, creating divisions, and giving the impression of bricks protruding and receding. Despite often being categorized as hyperrealism, Kim rejects this label. He considers his bricks to be illusions, highlighting their purpose in expressing his artistic vision. His work focuses on themes of repetition and formativity, demonstrating his skill in creating tension and balance through the repeated use of identical shapes. For the artist, the way grains of sand form bricks, and bricks come together to form buildings is similar to how cells come together to form a person, paralleling the individuals coming together to form society. Through his paintings, Kim symbolically expresses the importance of particles and humanity. CATALOG View Catalog here INSTALLATION VIEWS

Back Korean Association of New York Artists (KANA) Part 2 ‘Unbound Playground’ The Korean Association of New York Artists (KANA) is hosting two group exhibitions at Gallery Chang in Manhattan from July 30 to August 18. Curated by Calvin Lee and Lina Hae Lin Hwang, the exhibition includes Part 1, "Binary Equilibrium" (July 30 - August 7), and Part 2, "Unbound Playground" (August 9 - August 18). In Part 2, "Unbound Playground," artists Anikoon, Sun You, Yong Sun Kwon, Taekyung Suh, Hongbin Kim, and Soo Park will participate. This exhibition is inspired by Alain de Botton's book "Art as Therapy." The author suggests that "because the world's worries constantly awaken our attention, we need tools to maintain a positive and hopeful disposition." He emphasizes that while the dancing figures in Matisse's works do not deny the worries around us, they convey bright energy and highlight the beauty and joy that art can bring. Based on this understanding of art's function and meaning, the six artists will present works that draw from their daily lives, childhood experiences, memories, and emotions, using diverse visual languages and playful expressions. Their works evoke nostalgia and imagination related to childhood in New York and visually reconstruct fleeting moments from everyday life through familiar yet strange subjects, delivering playful messages. Anikoon presents works that reflect the modern human experience through vintage toy robots. The retro feel of the robots and the loneliness they convey resonate with our reality. By identifying with these comic characters, Anikoon invites viewers into a space of childhood imagination, combining youthful sentiment with parodic elements of classic art and graffiti techniques to create free-spirited paintings. Sun You, who is also a curator at the nonprofit gallery TSA New York in Brooklyn, uses strange yet familiar materials from everyday life to convey playful messages. Her work spans various media, including painting, sculpture, and installation, exploring the multifaceted and fluid nature of space while expressing delicate yet dynamic energy. Yong Sun Kwon introduces her persona, a half-human, half-fish character, humorously portraying imperfect self-portraits of those trying to escape their painful realities. These characters, referred to as "Fish Daegari," enjoy life with carefree expressions amidst a cheerful atmosphere, reflecting the artist's intention to humorously resolve her own struggles through this alternate identity. Hongbin Kim's pseudonym "Vanhada" carries dual meanings in Korean: "to fall in love" and "to oppose." He exaggerates the anxieties of leaving his hometown and not easily settling into the chaos of New York, transforming these feelings into joy through vibrant colors. Using the properties of acrylic paint, he creates new forms of artworks. Taekyung Suh emphasizes image and narrative in his works, posing questions and mysteries that invite dialogue with viewers. He uses imagery as a metaphor for the emotional experiences of difficulties, confusion, sadness, joy, and surprise encountered in everyday life, hoping that these images will continue to evolve in the minds of the audience. Soo Park employs various media to express childhood memories with wit, showcasing her playful worldview. The characters she creates candidly reflect human desires from a child's perspective, inviting viewers into unknown realms through organic storytelling. The opening reception for Part 2: "Unbound Playground" will be held on August 9 from 6 PM to 11 PM, followed by an artist talk on Sunday, August 11, at 2 PM featuring artists Anikoon, Yong Sun Kwon, Hongbin Kim, and Taekyung Suh. 뉴욕한인예술인협회(KANA, Korean Association of New York Artists, https://www.nykana.org)가 7월 30일부터 8월 18일까지 맨해튼 갤러리 장(Gallery Chang)에서 2회의 그룹전을 연다. 이상혁(Calvin Lee)과 황혜린(Lina Hae Lin Hwang)이 기획한 이 전시는 1부 ‘Binary Equilibrium’(7/30-8/7)과 2부 ‘Unbound Playground’(8/9-8/18)로 나뉘어 진행된다. 제 2부’Unbound Playground’에는 애니쿤(Anikoon), 유선미(Sun You), 권용은(Yong Sun Kwon), 서태경(Taekyung Suh), 김홍빈(Hongbin Kim), 그리고 박연수(Soo Park)작가가 참여한다. 이 전시는 작가 알래드 보통(Alain de Botton)의 저서 ‘영혼의 미술관(Art as Therapy)’에서 영감을 받았다. 저자는 “세상의 고민거리가 끊임없이 우리의 주의를 깨우는 탓에 우리는 긍정적이며 희망적인 성향을 지켜나갈 도구가 필요하다”며, 마티스 작품 속 춤을 추는 사람들이 우리 주변에 고민거리가 가득하다는 것을 부정하지는 않으나, 춤을 추는 사람들의 태도가 우리에게 밝은 에너지를 전달하는 것 처럼 아름답고 유쾌한 예술 작품들의 기능과 의미를 강조했다. 이같은 예술의 기능과 의미를 바탕으로, 여섯 작가들은 그들의 일상과 어린시절의 경험, 기억과 감정에서 출발하여 각기 다른 시각적 언어와 유희적인 표현으로 이뤄진 작업들을 선보인다. 이들의 작품은 뉴욕이라는 도시에서 어린 시절의 향수와 상상력을 자아내기도 하고, 낯설지만 어딘가 익숙한 소재들을 통해 무심코 스쳐지나가는 일상 속 순간들을 시각적으로 재구성하면서 유희적 메세지를 전달한다. 애니쿤(Anikoon)은 한국에서 현대인의 모습을 오래된 장난감 로봇에 투영한 작품을 보여준다. 오래된 장난감 로봇의 레트로적 감성과 내면에서 느껴지는 고독응 우리의 현실에 맞닿아있다. 로봇과 같은 코믹한 캐릭터 형상에 자신을 대입시키며 어린 시절의 상상의 공간에 관객들을 토대하여 앳된 감성과 오래된 명작의 패러디 요소 및 그라피티 채색기법들을 가미하여 자유분방한 회화를 보여준다. 유선미(Sun You)는 브루클린 비영리 갤러리’TSA 뉴욕’의 큐레이터이기도 하다. 주로 일상에서 사용되는 낯설면서도 익숙한 소재를 활용하여 유희적인 메세지를 전달하고, 공간의 다면성과 유동성을 활용하여 회와, 조각, 그리고 설치와 같은 다양한 매체를 넘나들며 섬세하면서도 역동적인 에너지의 작업들을 선보인다. 권용은(Yong Ein Kwon)은 그녀의 페르소나인 반인반어를 등장시키며 현실 속 머라 아픈 고민들로부터 벗어나고자하는 사람들의 불완전한 자화상을 유머러스하게 보여준다. 작가는 작품 속 반인반어들을 ‘Fish Daegari’(물고기 대가리)로 칭하며, 이들은 항상 즐거운 분위기 속에서 술과 함께 걱정 없는 표정으로 일상을 즐기는데, 이는 작가가 현실 속 고민과 괴로움을 대체자아인 ‘Fish Daegari’을 통해 유희적으로 해소하고자하는 의도가 담겨있다. 김홍빈(Hongbin Kim)의 필명 “Vanhada(반하다)”는 한국어로 “사랑에 빠지다”와 “반대하다”라는 양가적인 의미를 지니고 있다. 고향 한국을 떠나 뉴욕 속의 혼돈(chaos)으로부터 쉽게 정착하지 못하는 삶에 대한 불안감을 승화시켜 즐거움으로 수용하고 받아들이는 것을 과장된 색감으로 표현한다. 작가는 아크릴 페인트 물성을 활용하여 새로운 형태의 작품들을 보여준다. 서태경(Taekyung Suh)은 작품에서 이미지와 서사를 중점에 두며, 관계들에게 의문점, 즉 수수께끼와 같은 서사를 담아 관객들의 대화를 유도한다. 그림을 그리는 과저과 일상에서 느낀 어려움, 당혹삼, 슬픔, 기쁨, 놀라움에 대한 감정의 은유로 이미지를 사용하고 이 이미지가 담긴 작품이 관객들의 마음 속에서 계속 진화하기를 바라는 작업들을 보여준다. 박연수(Soo Park)는 여러 미디엄을 활용하며 어린 시절의 기억들을 위트있게 표현하며 작가 특유의 장난 꾸러기같은 세계관을 보여준다. 작가가 만들어내는 캐릭터들은 인간 본연의 욕말을 어린 아이의 관점에서 적나라하게 표현하고 있으며 유기적인 스토리텔링을 통해 광객들을 미지의 영역으로 초대한다. Part2: Unbound Playgound의 오프닝 리셉션은 8월 9일 저녁 6시부터 11시까지 진행되며, 8월 11일 일요일 오후 2시 애니쿤(Anikoon), 권용은(Ying Eun Kwon), 김홍빈(Hongbin Kim), 서태경(Taekyung Suh) 작가가 팜여하는 아티스트 토크가 열릴 예정이다. [Source from nyculture press release, provided by sukie] www.nyculturebeat.com KANA 그룹전 2부 'Unbound Playground' @갤러리 장(8/9-8/18) - Lounge - NYCultureBeat KANA x Gallery Chang Summer Exhibition Part II: Unbound Playground August 9 - August 18, 2024 Gallery Chang: 150 West 55th St. New York Opening Reception: Aug 9, 2024 6-11pm Artists: Anikoon, Sun You, Yong Eun Kwon, Taekyung Suh, Hongbin Kim, Soo Park Curated by KANA - Calvin Lee, Lina Hwang 뉴욕한인예술인협회(KANA, Korean Association of New York... < >

Back Kim In-ok’s New York Debut: ‘FAIRYTALE’ Kim In-ok’s New York Debut: ‘FAIRYTALE’ Gallery Chang is pleased to present Fairytale, the debut solo exhibition of Korean artist Kim In Ok in New York City. Kim In Ok, a female artist from Korea, has been actively creating works using traditional oriental painting techniques, specifically the use of powdered pigments and mineral pigments. Her unique soft and soothing painting has recently led her to explore various new approaches in her work. This exhibition features many of her representative pieces, including the well-known series The Way Back to Hometown and Waiting. Additionally, it will include new works that have not been previously shown, drawing significant attention. Kim In Ok is a recognized painter who has received acclaim through numerous solo and group exhibitions. Her work is known for its lyrical quality and the delightful contrast of vivid colors. Although the materials and techniques she uses follow traditional Oriental painting methods, her work also shows notable Western influences in its formal aspects. Her paintings often incorporate elements of minimalism and surrealism, such as trees that float away like cotton candy or broccoli transforming into trees, showcasing a blend and transition of styles. The artist skillfully navigates the boundaries between figurative and abstract art, as well as realism and surrealism. Her labor-intensive process involve repeatedly applying and drying layers of powdered and mineral pigments, resulting in works that are even more beautiful and naturally colored when viewed in person. Using the metaphor of tree standing tall amidst a storm, the artist conveys her philosophy:”Everyone hopes for happiness, not misfortune. While we cannot turn back time, we can look forward to future dreams.” Through her work, she aims to offer comfort and hope to viewers. In a reality filled with carious challenges, Kim In Ok invites us into a pure and warm world of fairy tales and imagination. 김인옥 뉴욕 데뷔전 ‘FAIRYTALE’ @갤러리장(8/20-25) 김인옥(Kim In Ok) 작가가 8월 20일부터 25일까지 맨해튼 갤러리장(Gallery Chang)에서 뉴욕 데뷔전 ‘FAIRYTALE”을 열었다. 김인옥 작가는 고향에 대한 그리움과 보편적인 정서를 독특한 시각적 언어와 감성적인 스타일로 묘사한다. 한국의 전통적 정서와 현대적 감각을 조화롭게 표현해 동서양의 경계를 넘어 섬세한 감성과 서정성을 전달하는 작가다. 갤러리장 장준환 대표는 “김인옥 작가의 작품은 감정선의 교류를 통해 예술의 진정한 가치를 보여주었다. 동서양을 아우르는 그의 예술적 표현은 우리 모두가 공감할 수 있는 보편적인 정서를 담고 있으며, 이를 통해 관람객들은 새로운 예술적 경험을 하게 되었다”고 밝혔다. 김인옥 작가는 홍익대학교에서 동양학을 전공한 후 동대학원 동양학과를 졸업했다. 고려대, 강릉대, 홍익대 등에서 강사로 가르치다가 전업작가가 됐다. 홍익대 선배인 벽돌화가 기강용 작가의 부인이다. [Source from nyculture press release, provided by Sukie ] www.nyculturebeat.com 김인옥 뉴욕 데뷔전 'FAIRYTALE' @갤러리장(8/20-25) - Lounge - NYCultureBeat FAIRYTALE: Kim In Ok Aug 20 - Aug 25, 2024 Gallery Chang, NYC 김인옥(Kim In Ok) 작가가 8월 20일부터 25일까지 맨해튼 갤러리장(Gallery Chang)에서 뉴욕 데뷔전 'FAIRYTALE'을 열었다. 김인옥 작가는 고향에 대한 그리움과 보편적인 정서를 독특한 시각적 언어와 감성적인 스타일로 묘사한다. 한국의 전통적 정서와 현대적 감각을 조화롭게 표현해 동서양의... < >

< Back CHASE PROJECT: KIM HONGBIN Jul 24, 2025 CHASE Project - Phase Shift From artist Hongbin Kim. An empty bank building breathes again – revived through art. Between demolition and renewal, collapse and regeneration, fragments of memory and emotion emerge. This is a phase shift—a new perspective born from pain and discomfort. Opening Reception: Friday, July 25th from 6:00 PM to 8:00 PM at Gallery Chang - located at 150 W 55th St, NY, NY 10019. Join us. “Gallery Chang, a contemporary art gallery known for presenting globally influential artists, is bringing a cross-cultural exhibition from Middletown to Manhattan this month. The exhibition will run through August 5th, 2025.” - Alina Wang, Vision Times .

Korea Artist Biography Works Next Cho Yuna Korea BIOGRAPHY EDUCATION Present - Master of Fine Arts, Painting and Printmaking, Yale University School of Art, New Haven, CT 2015 Bachelor of Fine Arts, Painting, Rhode Island School of Design, Providence, RI GROUP AND TWO-PERSON EXHIBITIONS 2024 Jimin Park & Yuna Cho, Ray Projects Seoul, Seoul, South Korea 2023 Spotted, Gallery Jiha, Seoul, South Korea Asian Students and Young Artists Art Festival, Hongik Museum of Art, Seoul, South Korea Nameless City, Keep In Touch Gallery, Seoul, South Korea Europia, Unhide x VVS Museum, Seoul, South Korea 2016 Summer Salon Show, Greenpoint Gallery, Brooklyn, NY 2014 Asian Students and Young Artists Art Festival, Culture Station Seoul 284, Seoul, South Korea GRANTS, RESIDENCIES 2023 October Grant Honorable Mention, MyMA 2017 Artist in Residence (March-April), KulttuuriKauppila Art Centre, Ii, Finland WORKS

< Back Echoes of Elegance: Symmetry in Memory Sep 9, 2019 Echoes of Elegance: Symmetry in Memory Kim Haley Sep 9 - Sep 21, 2019 The exhibition "Echoes of Elegance: Symmetry in Memory" showcases the captivating work of Haley Kim, an artist renowned for her graphic design background and her innovative approach to visual storytelling. This exhibition delves into the experiences and memories Kim has collected from her travels, presenting them through a distinctive use of symmetry and reflection. By employing a mirroring technique that spans horizontally and vertically, Kim transforms her personal recollections into a stunning visual symphony that magnifies both beauty and memory. Kim's work features an array of evocative subjects, including serene rose gardens, majestic European castles, and the intricate stained glass of grand cathedrals. Each piece captures the essence of these locations, revealing their inherent elegance and the emotional resonance they hold. Through her artistic process, Kim not only illustrates these scenes but also amplifies their beauty, creating a visual dialogue that invites viewers to experience and reflect upon the grace and significance of these memories. "Echoes of Elegance" is more than an exhibition; it is a celebration of the profound connections between place, memory, and beauty. Haley Kim’s use of symmetrical design techniques offers a fresh perspective on familiar sights, transforming them into timeless works of art. This exhibition provides an opportunity to explore the intersections of travel, memory, and artistic expression, inviting audiences to appreciate the intricate balance between what is seen and what is remembered.

Back Time, Colour, Sound and AI: What Happens When Paintings Sing Time, Colour, Sound and AI: What Happens When Paintings Sing Last month, the art world gathered in Venice for La Biennale di Venezia 2024. Among them is 61-year-old American artist Shane Guffogg, whose experiments in AI have made the impossible, possible. My one hope when people see my paintings is that they're confronted with the silence of colour. - Shane Guffogg In 1911, a then-little-known artist Wassily Kandinsky made steps to unite colour and sound through his seemingly unfinished painting Impressionism III (Concert) which, at its core, acted as an artistic exploration into the neurodiverse condition synaesthesia. Depicting abstract figures and onlookers in a concert setting, it's said Kandinsky was inspired to paint the picture after attending a concert by the composer Arnold Schonberg, feeling compelled to translate the sounds he heard into colour, hence why half the frame is awash with a distinct canary yellow. Despite marking the art world's first attempt at bridging multiple creative disciplines by uniting sound and colour, it certainly wasn't the last, as proven by the California-born and raised artist Shane Guffogg's current Venice Biennale exhibition At the Still Point of the Turning World - Strangers of Time, which uniquely marries all of Guffogg's interests AI, music, painting and poetry. 'Impressionism III' (Concert), by Wassily Kandinsky, 1911 Inspired by TS Eliot's Four Quartets poem, the series is made up of 21 kaleidoscopic paintings, spread over two rooms the first titled Reach Into the Silence and the second, Neither Flesh Nor Fleshless. Dense flushes of colour swirl, bend and melt into each other in quick succession and, depending on their layering, affect each piece's overall hue. While beaming with equal feelings of nostalgia, joy, sorrow and elation, (depending on which colour you hone in on first), each one radiates its own signature rhythm, a feeling magnified via the dimly lit room they're placed in which is nestled within the historic 15th-century Venetian palazzo Scala Contarini del Bovolo in Venice. 'We looked at a lot of different spaces' Guffog tells me when I meet him at the exhibition opening in Venice, an implication that getting the space right was as paramount as the work's creation; something that becomes obvious when you're stood in such an impressive structure as this one. Dating back to 1300, the palazzo lies equal distance from Rialto and San Marco, the commercial and political hubs of the city. What's more incredible is the building's miraculously delicate yet sturdy spiral staircase, commissioned by Pietro Contarini in 1499 to embellish the building even more. Contained inside a 26 meter-high cylindrical tower built in Istrian stone, the series of steps features exposed bricks and is perforated with a number of arches that are flanked by lodges connecting the structure to the adjacent building. 'I like this space, mainly because of the history of it and the staircase's circular movement. This is the context i want my work to be seen within', Guffogg declares. 'Reach into the Silence', by Shane Guffogg It's at the end of the staircase on the second floor where you'll find Guffogg's paintings, nestled tightly together in one room. When speaking of the emotion he wished to evoke with the works, Guffogg made it clear he wanted to stop people dead in their tracks 'and be confronted with the silence of colour' upon walking into the room, similar to how the artist felt when he first read T.S Eliot's Four Quartets poem, something that's reverberated through him ever since. 'There's a line in the poem' he begins, before reciting: At the still point of the turning world. Neither flesh nor fleshless;Neither from nor towards; at the still point, there the dance is,But neither arrest nor movement. And do not call it fixity, Where past and future are gathered. 'I’ve been reading those lines for about 30 years', Guffogg recalls. 'It’s a blend of East and Western ideologies. And the way Eliot talks about time flickering back and forth, between the past and the future, it's taught me that I, we, need to learn how to be in the moment; these paintings for me are about being in the moment.' It's through wanting to pass on this knowledge to people that has directly informed Guffogg's creation process. 'I knew I wanted these paintings to bypass an intellect of sorts and just force you into the moment. Each work took between three and six months to make and involved me painting day after day, all freehand. I started with a wider brush for the bottom layer and as the painting built up, transferred to using smaller brushes. I kind of think of them like a camera lens that’s focused on the middle where everything is clear but the edges are out of focus; these paintings are intended to quite literally bring you to that still point T.S Eliot comments on.’ 'Neither Flesh Nor Fleshless', by Shane Guffogg As for the poem itself, Beethoven's Opus 132 is widely credited as an indirect influence of Four Quartets, creating a tenacious link between both Eliot and the composer that many music and literature scholars have tried unpacking in recent years. Of course, Guffogg's own attempt at bridging the gap between different creative disciplines isn't new, especially when you consider the aforementioned Kandinsky, 'or Mussorgsky's Pictures at an Exhibition ' composer and music lecturer Anthony Cardella points out to me when I speak to him about his involvement in the musical process, but the way in which Guffogg has intentionally channelled his synaesthesia into making paintings sing, is. 'There’s never been such a specific case of this', Cardella continues. 'There’s been famous pieces derived from art and vice versa, and we know that Mussorgsky's reasoning behind Pictures at an Exhibition was meant as a tribute to his friend, the Russian artist Viktor Hartmann. But there's one stark difference, those pieces were inspired by the painting, they were not the painting.' 'Neither Flesh Nor Fleshless' by Shane Guffogg Working together, Cardella and Guffogg - along with AI software programmer Jonah Lynch - have come up with a series of musical compositions that are directly linked to the paintings by translating each colour into a specific note. 'Each painting has its own voice and we wanted to translate that physically so everyone else could hear colour along with Shane'. As for the process behind composing music in tandem with the paintings, AI remained a useful tool but didn't take the 'hands-on' feeling away from all those involved. 'It started with zooming in onto a painting and picking just one shade and blowing that up until it covers the entire laptop screen', Cardella tells me. 'It's important to note that for Shane, every colour has a different function. It’s never, "This blue is bread" it’s, "This blue helps us to transcend our current state of emotion", "This red brings us to the depth of our understanding of the way the world is". It was these functions that I felt echoed how in Western music we treat harmony: a cord is never in a vacuum, it has to have a function if it’s in a Western song. So, throughout this process, we were fishing around until we found the right note. And once we got there, it was always a snap moment for Shane, he would know in an instant whether it felt right or not.' Whenever that happened, Cardella would write the note down that belonged to the colour on the laptop screen and before long, something remarkable started to happen... 'we noticed that each shade of colour belonged to the same family of harmonies, just with subtle differences. That was really a penny-dropping moment', admits Cardella. 'Because it was like, "Okay, we're not crazy", you know? These colours really do all have their own sound.' 'Reach into the Silence', by Shane Guffogg Not only do the colours used have their own sound, but they also take reference from the architecture specific to Venice. 'The yellows you see in my paintings represent many of the buildings in Venice, so really, it's a site-specific piece of work', Guffogg Chimes in. 'I've been coming to this city for 20 years and so I was thinking about the different times of seasons and how light changes throughout the day. When you come in the wintertime time, you’ve got this cool greyness with the fog rolling in, which is a stark comparison to when it's summertime here. So I wanted to create this fusion of colour that reflects the way the canal's greenish hue changes to blue and back to green, each line is a memory that embodies this city, its shades and façades...for me, the paintings become a series of memories compressed into one moment.' When you piece all this together, the prevalence of Kandinsky's life and work in art becomes all the more ubiquitous. Particularly when you hark back to the artist's Colour Theory taught alongside Johannes Itten at the Bauhaus, where the pair adopted a synesthetic relationship with color, associating particular colors with both specific geometric shapes and with musical tones and chords. For them, yellow was best expressed as a triangle and a middle C played on a brassy trumpet. In his book, Concerning the Spiritual in Art, Kandinsky wrote: 'Colour directly influences the soul. Colour is the keyboard, the eyes are the hammers, the soul is the piano with many strings. The artist is the hand that plays, touching one key or another purposively, to cause vibrations in the soul.' Although Guffogg refutes the idea he looked at Kandinsky as inspiration for At the Still Point of the Turning World - Strangers of Time, those vibrations Kandinsky speaks of pulse all around the Scala Contarini del Bovolo, thanks to the energy embodied and the poetry reflected. At the Still Point of the Turning World - Strangers of Time is open to the public at the Scala Contarini del Bovolo until 24 November. 'Reach into the Silence', by Shane Guffogg [Source from SHOWstudio press release, provided by Christina Donoghue ] https://www.showstudio.com/news/time-colour-sound-and-ai-what-happens-when-paintings-sing < >

Back June 4, 2026 Shane Guffogg: Never a Hollow Man Shane Guffogg was thirteen years old when his family moved to an exotic bird farm in the broad mountain valley of Strathmore, California. The year was 1975. A small town with a population of less than 3000, the area was (and still is) surrounded by citrus groves and farmland. During Guffogg's teen years, he worked in this rural idyll, caring for the birds, watching brightly hued wings fluttering in flight. In discussing his youth, he recalls being an avid reader, with strong interests in quantum physics, poetry – particularly that of T.S. Elliot, and other artists' lives; he had started drawing as soon as he could hold a pencil. The inspiring atmosphere of his environs and education motivated him to build an art studio on the farm, an effort his parents supported. Birds, brushstrokes, stanzas, beauty: this setting shaped the emerging artist's beingness. By 1980, he was awarded the Bank of America award for Art and Music, and was ready to travel Europe, a young man on a museum romp before starting junior college. In 1983, he transferred to the renowned California Institute of the Arts, or CalArts. Shane Guffogg as a young man During his undergraduate years, Guffogg was surrounded by a pressure cooker of countercultural imagination, sharing a campus with painters, performance artists, musicians and activists. Amidst the hubbub, he was taken under the wing of Douglas Huebler, who was the Dean of the Art School at that time. Notably, Huebler is often credited as the founder of Conceptual Art, a movement which prioritizes intention above aesthetic in art making. Undoubtedly, Huebler's belief that an artwork is more than an object, and rather a catalyst for creative contemplation --would shape Guffogg's perception of his work's potential impact. Shane Guffogg in 1982 Ideation, being in direct parallel to practical artistic skill, is reflected throughout Guffogg's practice: in how he talks about his art, the way his work is exhibited, and in how critics and audiences interpret the work. In an interview with Bold Journey , Guffogg states that, "I like to think of my work as a bridge between the conscious and unconscious." Dedication to dreaming is fully realized through daily practice: the artist works in his studio on his oil paintings regardless of the state of the world, his personal feelings, and so forth. This commitment pays off, with the artist's work having been exhibited internationally at premier venues, including the 2024 Venice Biennale, which many arts professionals would consider a career pinnacle. For Guffogg, it's one more exciting moment in a longer, non-linear journey of arts praxis. For decades, he has continued his daily practice of painting, maintains his central California studio, and participates in ongoing exhibitions around the world. His latest brings him to New York City's Gallery Chang, for "Swell of Light," an exhibition platform which he will share with fellow California artist – peers and friends Andy Moses and Jimi Gleason. It is not his first time collaborating with the Gallery Chang ecosystem, having exhibited previously in a solo show at the gallery's Seoul location. Guffogg performed splendidly within the Asian Art Market (including any exciting information about sales in S.K. if possible), where growth rates are more dynamic. There, younger collectors drive the acquisition of contemporary, high-end works, making it an excellent landscape for sales of Guffogg's work. Now, New Yorkers have a unique opportunity to join the bidding fray – but more importantly, they have the chance to witness the works of living masters on display. Installation view at Gallery Chang " I think artists, and truly creative people in general (...) are more sensitive to their environments (...) that is the role of the artist in the world; to witness and absorb all things, and let those thoughts transform into an expression that illuminates, and in some cases, transcends our daily lives. " -Shane Guffog (Quote from a conversation with the artist and interdisciplinary curator Victoria Chapman, 2024). ...Guffogg's works will be on view in relationship with Gleason and Moses from May 7th through June 16, 2026. The Opening Reception will take place Thursday, May 7th, from 6 to 8 PM at Gallery Chang NY, located at 150 W 55th St, 10019, Midtown Manhattan. Front of Gallery Chang Written by Celestina Billington, Program Coordinator at Gallery Chang Previous Next

South Korea, 1955 Artist Biography Works Next Kim In Ok South Korea, 1955 BIOGRAPHY Kim In Ok is a South Korean artist celebrated for her heartwarming landscapes and serene depictions of an imagined homeland. A graduate of the Oriental Painting department at Hongik University, Kim has gained recognition through numerous solo and group exhibitions for her mastery of traditional Korean painting techniques. Her work blends the spiritual and emotional, offering comfort and solace to viewers through its delicate beauty. Kim’s notable series, Waiting and The Road to Hanggeum-ri, evoke a sense of nostalgia and tranquility. These works showcase her use of traditional pigments, including bunchae and seokchae, techniques rooted in classical Korean art. Inspired by the soft, compassionate styles of legendary Korean female painters such as Chun Kyung Ja and Lee Sook Ja, Kim’s work continues their legacy with a modern sensibility. Her paintings are characterized by their clear, luminous colors and a dreamlike quality that blurs the line between abstraction and representation. Iconic imagery in her Waiting series includes whimsical scenes of rural life, such as clothes drying in the countryside, vases of flowers, and cotton candy-like trees inhabited by fairies, all reflecting a childlike wonder. The Road to Hanggeum-ri , created during a personally challenging time, symbolizes the universal longing for a place of emotional refuge—a home in the heart. Kim herself describes her work as an invitation to find solace and joy, saying, “If my paintings can provide comfort to weary lives, I will be truly happy.” Her landscapes, not drawn from direct observation but reimagined through her inner world, present a unique vision that resonates universally. Her works are part of prominent collections, including the Ministry of Foreign Affairs, the Korean Embassy in China, Yongin Folk Village Museum, Yangpyeong Museum of Art, Cheongsong Museum of Art, Daewoong Pharmaceutical headquarters, and Fursys Corporation. Living and working in Korea, Kim In Ok continues to create art that bridges the past and present, offering a vision of a serene, idealized world that provides comfort and inspiration to those who encounter it. EDUCATION BFA in Oriental Painting, Hong-Ik University MFA in Oriental Painting, Hong-Ik University SOLO EXHIBITIONS 2023 Galley Doo, Seoul 2022 The LaLa Gallery, Seoul 2017 Seoul Arts Center, Seoul 2012 Insa Gallery, Seoul 2011 WITHSPACE Gallery, Beijing 2005 Seoul Arts Center, Seoul 2003 Beijing International Art Expo, Beijing 1993 Hyundai Art Gallery, Seoul PRIZE 1992 Special Award, National Art Exhibition COLLECTION Ministry of Foreign Affairs Republic of Korea Embassy of the Republic of Korea in China Cheongsong Yasong Art Museum Hongik University Museum KB Financial Group Samsung Fire & Marine Insurance WORKS Load More

United States, 1986 Artist Biography Works Next Kelly Berg United States, 1986 BIOGRAPHY Kelly Berg (b. 1986, Concord, Massachusetts) is a Los Angeles–based painter and mixed-media artist whose work investigates the dynamic and ever-shifting forces of the natural world. Raised in Minneapolis and educated at the Rhode Island School of Design, Berg’s practice bridges contemporary landscape painting with geological inquiry, distilling phenomena such as plate tectonics, volcanic eruptions, and rock formations into vivid compositions that evoke both the primordial and the sublime. Her paintings and sculptural elements engage with the cycle of destruction and creation inherent in the Earth’s processes, using impasto acrylic, metallic pigments, and reflective materials to evoke elemental energy and movement. Through this visual language, Berg explores humanity’s emotional response to nature’s power, prompting reverence and reflection in the face of forces that are both beautiful and formidable. Her work has been exhibited widely across museums and galleries in the United States and internationally, and is included in numerous public and private collections. WORKS