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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 2025 NYEAL Student Art Competition Winners Group Exhibition “Memory Pathwork.” Gallery Chang (150 West 55th St., Manhattan) held the inaugural NYEAL (New York International Emerging Artists League) Student Art Competition Winners Exhibition from December 11 to January 3. Organized by The Bank Foundation, the 2025 NYEAL Student Art Competition accepted submissions from October 21 to November 14 under the theme “Memory Pathwork.” A total of 62 students from diverse cultural backgrounds participated, submitting works in painting, drawing, photography, and mixed media. The jury included Brendan Ju (Director of Kylum Education), Julianne Michelle (actor), Seo in Park (art director), and Janis Park (Director, Gallery Chang Seoul). The winning works were exhibited at Gallery Chang alongside works by established artists such as Kim In-ok, Kim Se-jung, Kimi Kim, Yoo Choong-mok, and Ahn On. This created a space where different generations, career stages, and cultural backgrounds intersected. At the opening reception, award-winning students, their families and friends, artists, collectors, and members of the local community gathered. Some students stood by their works to explain their inspirations, methods of expression, and materials used. NYEAL is a platform that aims to discover and support talented student artists from around the world every December. It is hosted by The Bank Foundation, with Gallery Chang serving as the official venue partner. 2025 NYEAL Competition Winners • High School Division 1st Prize: Stella Chung / River Dell Regional High School, NJ / 11th Grade2nd Prize: Sehyun Chang / Dwight Englewood School, NJ / 9th Grade3rd Prize: Philip Glass / Dwight Englewood School, NJ / 9th Grade • Middle School Division 1st Prize: Victoria Yeaji Kwon / Dwight Englewood School, NJ / 8th Grade2nd Prize: Sameer Bhide / Yorkville East Middle School, NY / 8th Grade3rd Prize: Jaeyul Kim / Daepyong Middle School / 8th Grade • Elementary School Division 1st Prize: Martha Nachtrieb / The Caedmon School, NY / 5th Grade2nd Prize: Bill Nguyen / North Cliff Elementary School / 2nd Grade3rd Prize: Yong Kim / Seoul Samreung Elementary School / 4th Grade < >

Back At the Still Point of the Turning World - Strangers of Time A new series of twenty-one large-scale paintings represent the ongoing dialogue between the American abstract artist Shane Guffogg and T.S. Eliot’s famous set of poems, the Four Quartets . In his works the artist develops the ideas of movement, escape and migration, highlighting the transitory aspect inherent to human nature. These are autobiographical themes for Guffog, in fact his father emigrated from Northern England to the USA in 1957 looking for the “American dream”. [Source from venezianews press release] venezianews.it SHANE GUFFOGG. At the Still Point of the Turning World - Strangers of Time < >

Back Gallery Chang Officially Opens Its Seoul Location with Inaugural Exhibition by Yuri Gorbachev Gallery Chang, headquartered in Manhattan, New York, has officially opened its fourth location—Gallery Chang Seoul—at Oakwood Premier COEX Center in Samseong-dong, Seoul. To commemorate the opening, the gallery has launched a special inaugural exhibition featuring world-renowned Russian-born artist Yuri Gorbachev, the gallery announced on the 18th. Gallery Chang currently operates two locations in New York. The new Seoul space was established with the goal of serving as a cultural bridge between the New York and Korean art scenes and will be led by Director Hong Somin. Running through January 17, 2025, the inaugural exhibition at Gallery Chang Seoul is particularly significant in that it presents, for the first time in Korea through a commercial gallery, a selection of museum-exhibited works by Gorbachev, including his iconic Winter in Uglovka (1998). The exhibition marks a meaningful first step in connecting the artistic worlds of Russia and New York with Seoul. The exhibition showcases a total of 29 works, with a focus on seven major pieces from the 1990s—widely regarded as the peak period of the artist’s career and originally exhibited in museum contexts. The show is also conceived as an opportunity to reexamine these works from a contemporary perspective, recognizing their importance across politics, economics, society, culture, and art history. On view as well is one of Gorbachev’s most notable international collaborations: the limited-edition 1994 Stolichnaya Vodka poster Russian Heritage . Featuring a Russian winter landscape, traditional architecture, and the iconic Stolichnaya vodka bottle rendered in vivid colors and intricate detail, the work is valued not merely as an advertisement but as a highly collectible piece that encapsulates the essence of Gorbachev’s artistic vision. Regarded as the creator of the aesthetic philosophy known as “Positivism” and one of the most prominent artists to emigrate from the former Soviet Union to the United States in 1991, Yuri Gorbachev was classically trained at the Soviet Academy of Arts. His works combine Russian tradition with modern aesthetics, offering viewers a distinctive visual experience through bold color palettes and luminous golden details. Notably, the absence of black in his paintings stands out; instead, he employs bright, vibrant colors to infuse his works with energy and positivity—core principles of his Positivist philosophy. Through the use of traditional lacquer and glaze techniques, Gorbachev maximizes texture and light reflection, achieving a harmonious balance between classical craftsmanship and contemporary style. His luminous color sensibility conveys hope and happiness, demonstrating art’s power to forge deep emotional connections with audiences. Gorbachev’s works are held in the permanent collections of more than 30 major museums and institutions worldwide, including the State Russian Museum and the Russian Museum in St. Petersburg, The Metropolitan Museum of Art in New York, the Louvre Museum in Paris, the Moscow Museum of Modern Art, the National Art Museum of Ukraine, and the United Nations Headquarters. Meanwhile, Gallery Chang Seoul is set to play a key role in bringing New York’s contemporary art ecosystem to Seoul and further connecting the Korean and global art scenes. Director Hong Somin stated, “The opening of Gallery Chang’s Seoul location is expected to contribute to Seoul’s rapidly growing art market while further expanding the international presence of Korean artists already active in New York. We see great potential in the Korean art market and plan not only to introduce works by artists currently active in New York to Korea, but also to serve as an important gateway for Korean artists seeking opportunities in New York.” www.mhns.co.kr 갤러리 장, 서울 공식 오픈 및 개관전 유리 고르바초프 전시 개최 [문화뉴스 이용훈 기자] 뉴욕 맨해튼에 본사를 두고 있는 갤러리 장(Gallery Chang)이 서울 삼성동 오크우드 프리미어 코엑스 센터에 네 번째 지점인 서울 갤러리 장 서울을 공식 오픈하고 이를 기념한 개관전으로 러시아 출신의 세계적 예술가 유리 고르바초프(Yuri Gorbach < >

Back “Mirror-Like Paintings”: Jimi Gleason’s First Solo Exhibition in Seoul A solo exhibition by contemporary artist Jimi Gleason, Illuminated Silence , is being held at Gallery Chang Seoul, located in the Oakwood Premier COEX Center, through June 28. Centered on the theme “silence painted with light,” this exhibition marks the final chapter of Gleason’s Coast to Coast touring project, which concludes in Seoul after presentations in New York and Los Angeles. Using metallic pigments and specialized materials, Gleason creates mirror-like paintings that shift according to the viewer’s movement and the angle of light. His works metaphorically express light that emerges from stillness, and the silence revealed by that light. Gallery Chang explained, “This exhibition, presented in Seoul for the first time, brings together both signature works and new pieces, proposing new possibilities for art at the intersection of the material and immaterial, the visual and the emotional.” By Han Seung-hee / SBS News news.sbs.co.kr '거울 같은 회화' 지미 글리슨 첫 서울 개인전 현대미술 작가 지미 글리슨 의 개인전 가 갤러리 장 서울, 오크우드 프리미어 코엑스 센터에서 오는 6월 28일까지 개최됩니다. < >

Back shane guffogg: at the still point of the turning world - strangers of time SCALA CONTARINI DEL BOVOLO MUSEUM, PHOTO CREDIT: VICTORIA CHAPMAN Shane Guffogg, “At the Still Point of the Turning World - Only Through Time is Time Conquered” 2023, oil on canvas, 84 x 108 inches, (213.6 x 274.3 cm) Shane Guffogg (photo credit Sonia Huckabay) PRESS RELEASE Celebrated American artist Shane Guffogg lands in Venice this April New exhibition opening during the Venice Biennale to showcase ongoing dialogue between the abstract artist and poet T.S. Eliot This April, at the historic Scala Contarini del Bovolo, Venice, American Artist Shane Guffogg will present a new series of 21 paintings titled At the Still Point of the Turning World – Strangers of Time , opening during the 60th International Art Exhibition – La Biennale di Venezia 2024. Guffogg’s latest major exhibition promises to add a splash of joy and a touch of magic to Venice’s energetic art scene this April. This unprecedented collection of work in fact represents the ongoing dialogue between the abstract artist and poet T.S. Eliot’s renowned set of poems, Four Quartets , which has inspired Guffogg to create works that explore the intersection of time, space, consciousness and transcendence. The series of large-scale paintings explores concepts of movement, escape and migration, placing human nature as innately transitory throughout history. These themes are particularly autobiographical, as Guffogg's father immigrated to the United States in 1957 from Northern England, driven by the pursuit of the "American dream". Subsequently, Guffogg moved from the central valley of California to Los Angeles in the late 1980s, in the pursuit of artistic and cultural acceptance. The exhibition will be split in two rooms, each inspired by a different passage from T.S. Eliot’s writing and will feature selected works that can be enhanced through augmented reality (AR). Utilizing AR and artificial intelligence, Guffogg expands the possibilities of what art can be, inviting viewers to see and think beyond the 24/7 age of information, in a meaningful and immersive way. At the end of the first room, for example, will be the large canvas Only Through Time is Time Conquered (7 x 9 feet; 213.6 x 274.3 cm), which draws on the colours of the rich history of Venice and a painting by Tintoretto permanently exhibited in the rooms of Palazzo Contarini. The canvas will be AR-enabled, to allow viewers to experience the movement of the artist's hand in creating the work. The viewer will have a QR code to scan and then, once pointed at the painting, the AR will be activated showing the inversion of the application of colours and lines, until the painting is in its initial phase, which will then dissolve visually revealing the work by Tintoretto underneath. Jacopo Tintoretto, Paradise, (ca. 1588 – oil on canvas, cm 154 x 350 ) photo credit: courtesy of Gioielli Nascosti dI Venezia Guffogg’s “Only Through Time is Time Conquered” and tintoretto’s “paradise” near by “JACOPO TINTORETTO’S 1388 OIL-ON-CANVAS PAINTING, “PARADISE,” MEASURING 154 X 380CM, IS PROMINENTLY DISPLAYED AT THE SCALA CONTARINI DEL BOVOLO IN VENICE, ITALY. IT SERVES AS A FOCAL POINT IN DIALOGUE WITH GUFFOGG’S “AT THE STILL POINT OF THE TURNING WORLD - STRANGERS OF PARADISE” EXHIBITION. MOVED BY THE PROFOUND INFLUENCE OF TINTORETTO’S WORK, GUFFOGG DECIDED TO CREATE SITE-SPECIFIC PIECES AT SCALA CONTARINI DEL BOVOLO. FOLLOWING THOROUGH CONTEMPLATION, HE OPTED TO HARMONIZE HIS COLOR PALETTE WITH THAT OF TINTORETTO’S MASTERPIECE, A DECISION THAT SUCCESSFULLY SUPPORTS THE COHESIVE THEME OF HIS EXHIBITION AT THE SAME VENUE.” — VICTORIA CHAPMAN, STUDIO DIRECTOR, GUFFOGG STUDIO Enamoured with Europe’s Old Masters and inspired by their techniques, Guffogg has developed his own unique style incorporating a fascination of magic, iconography and quantum physics, which perfectly matches the uniqueness of the exhibition’s setting. The iconic Scala Contarini del Bovolo, a Venetian palazzo featuring a spiralling 15th Century staircase, 28 meters high, intertwines and dialogues with the artworks seamlessly. - Midas Neither Flesh nor Fleshless #1 , 2023, oil on canvas, 40 x 36 inches, (101.6 x 91.4 cm) Written by Victoria Chapman (Studio Director, Guffogg Studio) "In Four Quartets, T.S. Eliot explores themes of the present moment, the cosmic order, and coexistence, a sentiment shared by artist Shane Guffogg. Commencing in April 2023, Guffogg embarked on a creative journey, producing twenty-one paintings inspired by three stanzas from Burnt Norton, the first chapter of Eliot's work. These artworks, employing lines and colors, provide a visual examination of the exchange of thoughts across time. Guffogg's engagement with Four Quartets commenced over three decades ago and endures, as he contemplates Eliot's exploration of the abstract interplay between life experiences and the formation of memories. Eliot's poem, written in England between 1936 and 1942, is divided into four sections, each relating to one of the classical elements: air, earth, water, and fire. Eliot's verse, 'Be remembered; involved with past and future. Only through time is time conquered.' from Burnt Norton Section II, highlights the central theme of time's influence on human existence. Influenced by both Eastern and Western literature, including the Bhagavad Gita, Confessions of Saint Augustine, and The Divine Comedy, Eliot also drew inspiration from Beethoven's quartet, which may have influenced the poem's title and musical underpinnings. Guffogg, with his sound-to-color synesthesia, instinctively recognized this musicality, evident in his paintings. The works convey an inherent 'sound score' through their visual rhythm, offering an intuitive perception that guides the composition through the choice of lines and colors. The exhibition's largest piece, 'Only Through Time is Time Conquered,' exudes a dynamic quality, with blue lines at its core that pulse and summon supporting red and yellow lines, infusing contrasting tones with an oceanic sense of movement. Guffogg shared his creative process, revealing a connection between sound and color: 'As I was working on the seven by nine-foot canvas, and listening to abstract-classical-orchestrated music, I noticed the presence of dissonant chords. This parallel with my paintings, especially 'Only Through Time, Time is Conquered,' where complementary colors push against each other, creates a tension akin to the unsettling notes in the music. This experience immerses me in the present moment during the painting process, disconnecting from extraneous thoughts.” “The importance of a painting’s title varies from artist to artist. In the case of Shane Guffogg, the title serves as an informative element for the painting but does not determine or predict its creation. The titles, “Only through time is time conquered,” “Reach into the silence,” and “Neither flesh nor fleshless,” draw inspiration from T.S. Eliot’s desire to transcend time and live in the present, as explored in these stanzas.” Neither Flesh nor Fleshless #2 , 2023, oil on canvas, 40 x 36 inches, (101.6 x 91.4 cm) Neither Flesh nor Fleshless #3 , 2023, oil on canvas, 40 x 36 inches, (101.6 x 91.4 cm) Neither Flesh nor Fleshless #4 , 2023, oil on canvas, 40 x 36 inches, (101.6 x 91.4 cm) “Guffogg’s enduring fascination with Eliot’s Four Quartets has led to the evolution of his artwork, reflecting increasing complexity. His approach to life also mirrors this deepened connection, as he embraces fleeting moments with a sense of permanence. Using glazes, he masterfully creates the illusion of multiple light sources within his compositions. In addition, his extensive research into the techniques and materials of old masters, along with his background in publishing articles on art, results in figurative subjects transformed into abstract forms.” The interplay between light and dark, represented by transparent veils of light and complementary colors, produces a dynamic tension within the paintings, leading the viewer into an infinite shadow of darkness while drawing them towards the light. Guffogg's work encapsulates a timeless quality, capturing the eternal moment, which resonates with Eliot's themes. It invites the viewer to engage consciously and subconsciously, seamlessly merging these aspects and revealing the essence felt rather than merely perceived. Neither Flesh nor Fleshless #5 , 2023, oil on canvas, 30 x 24 inches, (76.2 x 60.9 cm) Neither Flesh nor Fleshless #6 , 2023, oil on canvas, 30 x 24 inches, (76.2 x 60.9 cm) Neither Flesh nor Fleshless #7 , 2023, oil on canvas, 40 x 36 inches Neither Flesh nor Fleshless #8 , 2023, oil on canvas, 60 x 48 inches, (152.4 x 121.9 cm) Neither Flesh nor Fleshless #9 , 2023, oil on canvas, 30 x 24 inches, (76.2 x 60.9 cm) Neither Flesh nor Fleshless #10 , 2023, oil on canvas, 30 x 24 inches, (76.2 x 60.9 cm) Neither Flesh nor Fleshless #11 , 2023, oil on canvas, 60 x 48 inches, (152.4 x 121.9 cm) Neither Flesh nor Fleshless #12 , 2023, oil on canvas, 40 x 36 inches, (101.6 x 91.4 cm) Guffogg's "At the Still Point of the Turning World" series, originating from a subconscious sketch in 2009, explores his quest for inner balance and serves as an autobiographical narrative. These paintings are not self-portraits in the conventional sense but expressions of his existence, a journey through the human condition, and his relationship with time. His artistic process involves a silent, solitary exploration of his work, where thoughts become visual language. Music plays a pivotal role in his creative process, acting as a conduit to connect with the universal essence. This process, which Guffogg describes as dipping his toes into the pond of the universe on a good day, is a ritual he continues to uphold. “This narrative underscores the profound and personal dimensions of Guffogg’s artistry and the unique creative process that fuels it.” Guffogg's art, much like T.S. Eliot's poetry, encapsulates a profound yearning, inviting observers to experience the authentic, providing a space to encounter time and the present. These works serve as a testament to Guffogg's need to share evidence of what it means to be alive, encompassing thoughts, emotions, love, suffering, and healing. His art, particularly in the "Neither Flesh nor Fleshless" series, is deeply autobiographical, portraying moments of existence. The "Neither Flesh nor Fleshless" series invokes an enigmatic quality, exploring the interplay of flesh and the absence of it. Guffogg's approach involves allowing his hands to move across the canvas, making the brushes an extension of his physicality. Thin veils reminiscent of Renaissance art, particularly the translucent black veil seen in the Mona Lisa, represent the delicacy and fragility of life and the moment of transition. These paintings aim to present an unsolvable question, provoking contemplation. Emotional and primarily red in color, with various shades of dark, earthy-red, charcoal, and smoky hues, the series delves into the convergence of spiritual and physical worlds. These works provoke contemplation of time and composition, offering a reflection on the past, present, and even the future. They express a belief system rooted in human existence, sharing intimate thoughts, sensations, and a blend of the mental and spiritual. They evoke words like "annunciation," "rapture," and "communion," prompting self-awareness and introspection. Collectively, the series emanates an ethereal quality, while individually, each painting conveys a unique message. Gestural marks transform into ribbons or veils of light, revealing saturation and fluidity, evoking celestial elements. The series prompts a sense of longing and contemplation, exploring the boundary between order and chaos. Guffogg's work serves as a testament to truth, representing both a historical narrative and a visual and emotional experience. Reach into the Silence #1 , 2023 oil on canvas, 72 x 60 inches (182.8 x 152.4 cm) “The “Reach into the Silence” series, comprised of eight paintings, visualizes a Gregorian chant, embodying the concept that words and music can reach stillness only through form and pattern. Guffogg’s ability to follow a command and create in response to a voice reflects the depth of his creative process.” In contrast to Monet's works at Giverny, Guffogg doesn't depict his garden but paints abstract moments informed by the landscape. His connection to the land and his understanding of light enables him to create a sense of depth and movement, similar to Monet's approach. Guffogg's keen perception of the environment, weather patterns, and his intimate connection with his chosen workspace contribute to the unique quality of his artwork. Reach into the Silence #2 , 2023 oil on canvas, 72 x 60 inches (182.8 x 152.4 cm) Reach into the Silence #3 , 2023 oil on canvas, 72 x 60 inches (182.8 x 152.4 cm) Reach into the Silence #4 , 2023 oil on canvas, 72 x 60 inches (182.8 x 152.4 cm) Reach into the Silence #5 , 2023 oil on canvas, 72 x 60 inches (182.8 x 152.4 cm) This narrative delves into the intricate and profound dimensions of Guffogg's artistic process, inviting viewers to explore the intricate layers of his work and its connection to the world around him. “In Guffogg’s own words, his artistic process serves as a form of meditation, a means of documenting his journey through life. Each line, each brushstroke on the canvas represents a unique moment in time. What viewers witness in his paintings is the accumulation of these moments, all distilled into a singular, profound instant.” His artworks are not only visual expressions but also personal narratives, sharing his own story while reflecting on the profound themes found in T.S. Eliot's text. In each brushstroke, viewers can explore the interplay of line, color, and elements of space, delving into the essence of his experiences and the emotions woven into his work. Reach into the Silence #6 , 2023 oil on canvas, 72 x 60 inches (182.8 x 152.4 cm) Reach into the Silence #7 , 2023 oil on canvas, 72 x 60 inches (182.8 x 152.4 cm) Reach into the Silence #8 2023 oil on canvas, 72 x 60 inches (182.8 x 152.4 cm) Only Through Time is Time Conquered, 2023, oil on canvas, 84 x 108 inches, (213.6 x 274.3 cm) “Be remembered; involved with past and future.only through time is time conquered.” — Burnt Norton Section II, T.S. Eliot Since Guffogg’s first encounter with the Four Quartets , his fascination has not wavered. If anything, it has grown deeper, which is evident in the developing complexities of his paintings and can also be seen in how he lives life, taking each moment in each day as something that is fleeting but permanent. Guffogg uses glazes to paint the illusion of various light sources within the composition. He has also written and published numerous articles analyzing paintings of the old masters and reads books on artists’ materials from the past. The results are figurative subjects painted as abstract forms. There is a balanced struggle between the light and dark, yin and yang, represented through painted transparent veils of light and complementary colors, that push the illusionary picture plane further back into an infinite shadow of darkness as light pushes toward the viewer. The paintings embody a certain timelessness; capturing the eternal moment, which is the key and link to Eliot. The viewer is an integral part of the work because these paintings require an exploration that engages the conscious and subconscious, which the artist seamlessly fuses together, bridging the essence of what is felt rather than merely perceived. In 2009, while listening to a public speaker and without thinking, Guffogg felt a need to sketch his subconscious. This was the beginning of the At the Still Point of the Turning World series – lines that would loop out toward the edge and back around to the center of the page as if there was a hidden gravitational force controlling his hand. It was the artist’s way of finding his own still point and inner balance. These paintings are autobiographical. They aren’t mirror images of what he looks like; eyes, face, hair, etc. Rather, they are the evidence of his existence, the exploration of the human condition, and his relationship to time. Not only are they paintings, they are a confirmation of truth. When Guffogg enters his studio, it is a silent act. The artist walks around, looking to see what his paintings are telling him. He works alone, there are no assistants. Watching him lay down the first traces of lines is quite mystical. He has said that thoughts become words, but what do our thoughts look like before they become language? Then the music is turned on and he becomes a conduit. As Guffogg likes to say, when he is having a good day in the studio, he gets to dip his toes into the pond of the universe. Like Eliot’s poetry, Guffogg has instilled a certain yearning into these works. These paintings also bring a moment for the observer to experience a place to witness time and the present. I think this may be Guffogg’s need to share evidence of what it means to be alive; think, feel, love, suffer, heal. I am returning to the fact that it is autobiographical. Guffogg has said he paints moments of existence. “The experience of these paintings transports us to places of refuge that are completely unknown. They are summoning moments of his existence, steeped within the consciousness of which they are manifested.” [Source from VC Projects press release] www.vcprojects.art Shane Guffogg/Scala Contarini del Bovolo Museum, Italy — VC PROJECTS < >

Back American Contemporary Artist Shane Guffogg Solo Exhibition “Memories of the Future” Internationally acclaimed American contemporary artist Shane Guffogg is currently presenting his solo exhibition Memories of the Future at Gallery Chang in Seoul. In this exhibition, Guffogg introduces a new body of work inspired by images captured by the James Webb Space Telescope. Reflecting on scenes of stars being born and disappearing in the cosmos, the artist explains that he came to the realization that “time is not linear—the past we perceive is, in fact, the present.” The exhibition invites viewers to awaken to the idea that “we are memory and future at once, coexisting within this luminous present moment.” As this philosophical reflection is fully embedded in the paintings, viewers encounter yesterday’s traces, today’s shadows, and tomorrow’s radiance simultaneously within a single visual field. Art critic Victoria Chapman commented on the exhibition, stating, “Guffogg’s canvases are not mere abstractions, but portals of time. If Cubism fragmented viewpoint, Guffogg fragments time itself. Standing before his works, we are invited into a present where dimensions intersect.” Guffogg gained global attention last year during the Venice Biennale period with an installation encompassing painting, poetry, and music at Palazzo Contarini del Bovolo. Born in California in 1962, Guffogg has spent more than four decades consistently developing a painterly practice centered on light, time, and perception. While employing traditional oil painting techniques, he builds up dozens of translucent glaze layers, creating surfaces where light appears to accumulate and traces seem to overlap across time. The exhibition runs through October 10 at Gallery Chang, Seoul. By Lee Joo-sang / SBS News news.sbs.co.kr 미국 현대미술가 셰인 구포그 개인전 '기억 속의 미래' 이번 전시에서 구포그는 제임스 웹 우주망원경에서 촬영된 이미지에 영감을 받아 제작된 신작 연작을 선보입니다. 구포그는 별이 태어나고 사라지는 우주의 장면을 보며 "시간은 선형이 아니라, 우리가 보는 과거가 곧 현재"라는 깨달음을 얻었다고 말합니다. < >

Back C4 Grand Opening in Seoul, Oakwood Premier Coex Center Gallery Chang C4 Grand Opening in Seoul, Oakwood Premier COEX Center December 4th, 2024 Gallery Chang C4 has opened its fourth location in Seoul, situated at the Oakwood Premier COEX Center, with the grand opening on December 4th, 2024. The exhibition features renowned Russian-American artist Yuri Gorbachev, whose vibrant works have been showcased in major museums around the world. Gorbachev is known for his unique technique, using precious metals and lacquers to create paintings that radiate positivity and emotion. His work is represented in collections like The Louvre, the Russian National Museum, and the United Nations. The exhibition, titled The Magician of Color: Awaking Pure Emotions through Art , runs from December 5th, 2024, to January 11th, 2025. The renowned brick artist Kim Kang Yong is observing Yuri Gorbachev's artwork From left to right: Artists Kim Hobong, Kim In ok, Kim Kang Yong, and Kim Nam Joo < >