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Oct 24 - Dec 10, 2024 Intro Catalog Installation Views Next [C1] New York THE FUTURE IS PAST IS PRESENT Oct 24 - Dec 10, 2024 Shane Guffogg INTRO Shane Guffogg: The Future as Past is Present A Solo Exhibition Featuring Twenty-Four Oil and Canvas Paintings Opening October 24, 2024, at Gallery Chang, New York City, NY It’s always fascinating how Shane Guffogg approaches his work. His titles, like The Future, as Past is Present , draw you into his world. They aren’t just clever phrases; they represent Shane’s reflections on time, space, and the essence of existence. His fascination with time is unmistakable, a theme that has guided his artistic practice for over three decades. Much of his thinking has been shaped by T.S. Eliot’s Four Quartets , an exploration of time and transformation that Eliot began writing on the cusp of World War II. Shane’s work has always carried a certain weight—a documentation of his life and his presence on this earth. His upcoming solo exhibition at Gallery Chang will showcase this perfectly. The Counting of Days series in this exhibition beautifully embodies this concept. While the pieces visually resemble flowers, they profoundly reflect Guffogg’s lived experiences. Each brushstroke marks the passage of time, much like the counting of prayer beads, capturing sensory moments from his birth to the day the painting was completed—an actual count documented at the bottom of each painting. These works are a personal narrative and a universal meditation on the passage of time. The softness and freedom conveyed in these paintings evoke the transient nature of existence—appearing and fading much like passing thoughts. Each piece is centered around a singular color palette, offering a meditative quality that invites viewers to contemplate the fleeting moments of their own lives. Guffogg's approach to painting is almost alchemical. Through each stroke, he transforms raw materials into something profound—an enduring expression of thought, memory, and emotion that transcends the limitations of time. In the series A Rose is a Rose is a Rose , inspired by Gertrude Stein’s poem Sacred Emily and Guffogg's connection to his garden, the work challenges traditional ideas of fixed identity and meaning. Rather than offering literal depictions of roses, Guffogg's paintings embody abstract experiences that explore the fluidity of identity. His characteristic use of sweeping ribbons, flashes of color, and veils of light creates an ethereal, dreamlike space where viewers are drawn into the divine and the miraculous. This series becomes a visual journey through unseen forces, reflecting the ever-changing and fluid nature of perception and self. Guffogg’s mastery of intertwining time and identity reaches its pinnacle in his At the Still Point of the Turning World series, a title drawn from T.S. Eliot’s Four Quartets . These works transcend time and space, functioning as visual poetry that seeks to capture the infinite. There are energetic forces in these paintings. When asked how the artist creates this sense of movement and gravity, guiding the viewer into the painting, he said; “It’s hard to explain how I know. There isn’t a thought or thoughts, or my inner voice speaking to me. It is a feeling that goes beyond where words go and I know a painting is done when I can sense it the painting is breathing on its own and will continue to do so after it leaves the studio.” It's no wonder David Ash, a renowned quantum physicist, was captivated by Guffogg’s art at his May 2024 Paris exhibition. After experiencing the works, Ash observed, “You’re painting what I’m writing about. This is a form of quantum physics,” seamlessly connecting Guffogg’s artistic expressions with the intricate theories of space, time, and existence. The convergence of Eliot’s philosophical poetry, quantum theory, and Guffogg’s personal experiences creates a profound resonance in his art. One particularly striking example is his Late Roses in Early Snow , a painting that connects deeply with the intellectual and artistic energy of the delicate beauty of Monet and the dynamic gestures of Pollock, Guffogg’s work coexists with the rhythms of nature while also engaging with contemporary perspectives. Much like Eliot’s blending of Western and Eastern philosophies, Guffogg captures a unique synergy of influences from both traditions. The soft pastels in this painting, reminiscent of New York’s winter landscapes, evoke a harmonious dialogue between the city's constant reinvention and the timeless quality of Guffogg’s artistic vision. Through his work, Guffogg continues to push the boundaries of painting as a medium for exploring reality's deeper mysteries. His upcoming exhibition at Gallery Chang promises to be a powerful continuation of his exploration of the intricate connections between time, identity, and existence. For viewers, it’s an invitation to pause, reflect, and engage with the profound questions that define our very being. – Victoria Chapman CATALOG View Catalog here INSTALLATION VIEWS

Apr 20 - May 24, 2025 Intro Catalog Installation Views Next [C4] Seoul Where Past and Future are Gathered Apr 20 - May 24, 2025 Shane Guffogg INTRO SHANE GUFFOGG: WHERE PAST AND FUTURE ARE GATHERED GALLERY CHANG, SOEUL, SOUTH KOREA Gallery Chang in Seoul, South Korea, presents Shane Guffogg: “Where Past and Future are Gathered” a solo exhibition featuring Guffogg’s Still Point paintings, a body of work deeply engaged with themes of time, transcendence, and the ephemeral nature of existence. While this marks the artist’s first exhibition in South Korea, the fundamental principles of his work—his balance of time, space, and form—are inherently aligned with the aesthetics of Korean art. Guffogg’s paintings serve as confessions of time, transforming unseen forces into tangible marks. His brushstrokes trace energies that mysteriously move into our world, capturing the presence in layers of light and movement. The viewer, as a receiver, is invited to witness these ephemeral forces through an immediate sensory (visual) experience. A key inspiration for Guffogg’s Still Point series is T.S. Eliot’s Four Quartets – a meditation on time, impermanence, and spiritual awakening. Each painting draws its title from stanzas of this poem, where the passage of time is examined through the elements—air, earth, water, and fire. Guffogg’s work does not illustrate Eliot’s poetry but rather embodies a visual language akin to calligraphy, where color and movement become expressive gestures of form and emotion. Through thousands of layered brushstrokes, his compositions unfold like wordless poems. The exhibition’s largest painting, “At the Still Point of the Turning World – The Surface Glittered out of the Heart of Light”, echoes Eliot’s meditation on time as both linear and cyclical, a concept deeply rooted in Korean philosophy. Korean art embraces impermanence and the importance of the present moment. Guffogg’s paintings, with their shifting luminosity and depth, reflect this philosophical understanding, existing between presence and absence, solidity and fluidity, stillness and motion. Guffogg’s process is a meditation in itself—he paints daily, working 8 to 10 hours in solitude, surrounded by nature at his ranch. Written in charcoal on the walls of his studio are stanzas from the poem, which Guffogg internalizes over long periods of time, until colors are sensorially connected to the words. Then the title informs the painting. His paintings emerge as moments in time that are seemingly without time as they are visually moving while still, revealing traces of his meditations through color and form. Another significant piece, “At the Still Point of the Turning World – Into the Rose Garden”, is a multi-colored variation of reds, purples, and ribbons of white. The title references Eliot’s symbolic garden—a place of purity, transformation, and the passage of time. In Korean culture, gardens similarly serve as spaces of contemplation, where nature becomes both a teacher and a metaphor. Rather than depicting these themes directly, Guffogg creates an abstract experience where color, line, and movement evoke transformation. Guffogg’s technique involves no preliminary sketches, and no assistants—only the repetition of intuitive movement. Each painting is made up of thousands of brushstrokes of glazes mixed with oil paint, creating an extraordinary depth that appears to suspend time itself. This meticulous process aligns with his belief that each brushstroke is a summoning of memory, a mark that bears witness to the unseen forces of existence. His synesthesia, the ability to perceive color as sound, further deepens this interplay. His paintings become silent symphonies, their tonalities resonating internally with the viewer. Guffogg’s use of color is never jarring; instead, his complementary hues create a sense of balance, inviting introspection rather than demanding interpretation. His works do not depict existential crises—they pose questions, seeking revelations of beauty and the unknown. In Guffogg’s work, color is not merely pigment—it is a presence, vibrating beyond the visual into something sensorial, emotional, and spiritual. His mastery of light and shadow recalls the Old Masters, yet he reinterprets their techniques for the contemporary world. At a time of constant acceleration, Guffogg’s paintings offer a rare moment of pause—a space for contemplation and transcendence. His work is deeply connected to art history, influenced by Kandinsky, Monet, and Turner, yet distinctly his own. Though this marks Guffogg’s first exhibition in Korea, it is not an introduction but a reconnection. His paintings, infused with rhythm, light, and emotion, align with the artistic and philosophical traditions of Korean thought. They invite us to engage with the essence of life itself—a dance of being—a luminous stillness within the turning world. By. Victoria Chapman CATALOG View Catalog here INSTALLATION VIEWS

Jul 30 - Aug 7, 2024 Intro Catalog Installation Views Next [C1] New York Binary Equilibrium Jul 30 - Aug 7, 2024 INTRO The 2024 KANA Summer Exhibition, a collaboration between KANA and Gallery Chang, will take place from July 30 to August 18. The exhibition is divided into two parts: Part 1: Binary Equilibrium and Part 2: Unbound Playground. Through this summer project, KANA aims to introduce artists with Korean roots in New York to a broader audience and create a platform for sharing inspiration and communication. Part 2 ’Unbound Playground‘ presents the works of 6 artists who use their unique visual languages and playful expressions to depict experiences, memories, and emotions. These pieces, characterized by whimsical perspectives, vibrant colors, and diverse materials, visually reconstruct personal moments from everyday life. ©KANA CATALOG View Catalog here INSTALLATION VIEWS

Jan 6 - 31, 2026 Intro Catalog Installation Views Next [C4] Seoul BEYOND DANSEAKHWA – The Depth of Abstraction Jan 6 - 31, 2026 Cho Yong Ik INTRO Cho Yong Ik, a prominent figure in the realm of Korean monochrome art, is renowned for his exploration of the aesthetics of ‘revealing the void.’ His artistic method involves repetitive actions that embody a spirit of negation, resulting in works characterized by a delicate balance of traces and empty space created through the process of applying and erasing pigments, reflecting the process of discovering one’s own realm in accordance with the principles of a single stroke. Alongside other key figures in Korean monochrome art such as Park Seo Bo, Chung Sanghwa, Ha Chong Hyun, Yun Hyong Keun, and Jung Chang Sub, Cho Yong Ik has played a pivotal role in shaping the discourse surrounding Korean abstract painting. This exhibition not only unveils the hidden masters of monochrome art but also provides a comprehensive overview of the evolution of Korean abstract painting, positioning Cho Yong Ik’s works within the broader context of the genre’s development in Korea. CATALOG View Catalog here INSTALLATION VIEWS

Feb 8 - 28, 2024 Intro Catalog Installation Views Next [C1] New York MASTERPIECE (2019-2023) Feb 8 - 28, 2024 Kim Kang Yong INTRO Gallery Chang is pleased to announce the unveiling of Kim Kang Yong's second solo exhibition in New York, marking the inaugural exhibition for the gallery. As a distinguished figure in Korean contemporary art, Kim Kang Yong embarked on his artistic journey in the mid-70s, captivated by the hyperrealist movement. It's noteworthy that Korean hyperrealism of that era differed from its American counterpart, reflecting unique perspectives shaped by societal contexts such as the construction boom under the 5-year Economic Development plan. The 1970s in South Korea witnessed a surge in construction activities, with industrial complexes, express highways, and apartment complexes springing up in major cities as part of this developmental phase. This unique societal background significantly influenced Kim Kang Yong's artistic approach, particularly in themes related to brick and material. The prevalence of construction and urban development during this period became integral to his artistic expression. Kim Kang Yong's exploration of hyperrealism not only captured the visual aspects of his surroundings but also delved into the essence of societal transformation. His utilization of brick and its material distinctly reflects the societal development in South Korea during that era, evident in his works. Kim Kang Yong's monochrome representation of brick underwent a significant transformation upon his arrival in New York in 2005, where the vibrant spectrum of brick colors in Manhattan captivated him. This experience marked a pivotal shift in his artistic approach, leading to the inception of multicolored works during his time in New York. Upon returning to Korea, Kim Kang Yong continued his asetheic exploration and embarked on technical experimentation, further enriching the depth and diversity of his artistic expression. Yet, Kim Kang Yong's artistic endeavors extended beyond. The current exhibition at Gallery Chang stands as a testament to his ongoing dedication - a byproduct of his relentless artistic endeavor. Highlighting Kim Kang Yong's latest works spanning from 2019 to 2023, this showcase is a vivid portrayal of his unwavering pursuit of originality and creativity, catalyzing the redefinition of artistic boundaries. His influence extends beyond South Korea, resonating globally and setting new benchmarks in hyper-realism, thereby expanding the horizons of what art can aspire to achieve. CATALOG View Catalog here INSTALLATION VIEWS

Jun 20 - 27, 2024 Intro Catalog Installation Views Next [C1] New York MUSEUM COLLECTION Jun 20 - 27, 2024 Yuri Gorbachev INTRO Museum Collection June 20, 2024 - July 27, 2024 Gallery Chang is pleased to announce a solo exhibition featuring the work of the internationally renowned Russian-American artist, Yuri Gorbachev. Drawing inspiration from his childhood memory in Russia, the radiant jewel tones of Byzantine art, and the intricate craftsmanship of Peter Carl Fabergé, a famous Russian goldsmith, Gorbachev creates vivid, richly textured paintings through the use of oil, gold, silver, and bronze. Gorbachev’s work, characterized by the application of specially formulated lacquer and glazing techniques, reflects his classical training and expertise in ceramics acquired in Russia. Gorbachev, born in the Soviet Union in 1948, established a successful career as a ceramicist specializing in sculpture in his home country. His native region of Novgorod (Новгород) produced one of the foremost schools of icon paintings, established by Andrei Rublyov, who was a disciple of the renowned Byzantine artist Feofan the Greek. Gorbachev regards Rublyov as a major influence on his art, alongside Picasso, Rousseau, Kandinsky, and Malevich. In 1991, upon arriving in the US, Gorbachev transitioned from ceramics to working with oil on canvas, making the beginning of the most prolific period of his career. Since then, Gorbachev has exhibited his work in nearly three hundred exhibitions worldwide. His works also have been widely collected by renowned international galleries and museums, including the Russian National Museum, the Louvre, the National Armenian Gallery, and the Clinton White House, among others. Gorbachev's global appearances have enabled him to extensively travel, particularly in Asia. The inspiration he gained from his trips to Asia has profoundly shaped his art-making, leading him to weave the cultural influences from his journeys and childhood memories into his canvas. In 1995, Gorbachev went to Bali, and the profound impact of this previously unfamiliar culture led him to incorporate Indonesian motifs, such as floral patterns, as a central element in his still-life series. Gorbachev’s longing for his homeland also plays an important role in his art. In his landscapes series, Gorbachev channels this nostalgia into a vibrant kaleidoscope of Russian scenes. His works depict vivid visual imagery, including a racing troika (a type of Russian carriage) and buildings reminiscent of Moscow’s iconic St Basil’s Cathedral, against the backdrop of snowy, idyllic countryside. Sometimes Gorbachev blends a diverse array of visual tropes from still life and landscape series into one canvas, featuring wild animals, lush flora, and enigmatic figures carrying a symbol of the sun, moon, and star. His unique way of juxtaposing various cultural influences yields paintings that reinterpret both Asian and Russian myths, fairy tales, and landscapes, thereby opening up a realm of curiosity and imagination. Notably, Gorbachev’s art stands out for its ability to interweave diverse cultures and imagery, brought to life through vibrant colors, dynamic figures, and imagination. CATALOG View Catalog here INSTALLATION VIEWS

Feb 16 - Mar 17, 2024 Intro Catalog Installation Views Next [C2] Middletown Emptying to Enrichment: Moon Jar’s Path Feb 16 - Mar 17, 2024 Oh Kwan Jin INTRO Under the esteemed guidance of Chang Jun Hwan, whose expertise spans renowned galleries worldwide, Gallery Chang is poised to revolutionize Middletown's cultural landscape, drawing inspiration from Dia:Beacon's transformative influence and envisioning Middletown, NY, as the next cultural beacon. Director Chang Jun Hwan, known for his involvement in notable endeavors including the 2018 Pyeong Chang Winter Olympics, envisions Gallery Chang not merely as an art gallery, but as a dynamic cultural hub fostering creativity, igniting community engagement, and catalyzing artistic expression in Middletown, NY. The inaugural exhibition at Gallery Chang's Middletown venue will showcase the solo works of Oh Kwan Jin, presented under the evocative title "Emptying to Enrichment: Moon Jars Path ” Running from February 16th to March 17th, visitors will have the opportunity to immerse themselves in Oh Kwan Jin's acclaimed artworks, which also include his notable contributions to Korean drama sets, cherished by K-pop enthusiasts and drama aficionados. Notably, Oh Kwan Jin's exhibition will feature new paintings, including "Blue Dragon," inspired by the Eastern astrological tradition where 2024 marks the Year of the Blue Dragon. This thematic piece adds a unique cultural resonance to the collection, complementing Oh Kwan Jin's new 2024 works. To mark this momentous occasion, the opening day festivities will be graced by a live performance from Oh Kwan Jin himself, offering attendees an intimate encounter with his artistry. With a seamless fusion of Eastern and Western influences, Oh Kwan Jin's oeuvre epitomizes Gallery Chang's commitment to promoting cross-cultural dialogue and appreciation. Distinguished guests, including the Mayor of Middletown and notable VIPs from various spheres, will be in attendance, underscoring the significance of Gallery Chang's endeavor in enriching both the local arts scene and the broader cultural landscape. “In Middletown, NY, Gallery Chang isn't just about art—it's a lively cultural hub," remarked Director Chang Jun Hwan during an interview. "We aim to foster creativity, community engagement, and cross-cultural dialogue, making a meaningful impact beyond the canvas." "Gallery Chang Set to Redefine Middletown's Artistic Identity" CATALOG View Catalog here INSTALLATION VIEWS

SEP 2 - OCT 10, 2025 Intro Catalog Installation Views Next [C4] Seoul Memories of Our Future SEP 2 - OCT 10, 2025 Shane Guffogg INTRO 셰인 구포그: 기억 속의 미래 2025년 9월, 서울 갤러리 장에서 셰인 구포그의 신작 연작 Memories of Our Future가 전시된다. 캘리포니아 스트라스모어 목장에서 제작된 이 작품들은 빛, 시간, 지각에 대한 평생의 탐구를 확장하며 “우리는 시간을 어떻게 보는가?”라는 질문을 던진다. 작업은 사전 스케치 없이 잠재의식에 따라 즉흥적으로 진행되며, 수개월간의 중첩적 결정으로 완성된다. 이 과정은 회화를 시간 속 의식의 기록으로 보는 그의 철학을 반영한다. 구포그의 회화는 교리보다 체험을 중시하며, 친밀하면서도 광대한 감각의 문턱으로 관람자를 초대한다. 이번 전시는 그의 경력에서 중요한 전환점으로, 아름다움과 복잡함의 공존, 보이지 않는 것의 가시화, 기억이 미래로 향하는 안내자일 수 있음을 시각화한다. 시간은 그의 캔버스에서 선형이 아닌 층위로 펼쳐지며, 현재와 과거, 미래가 긴밀히 연결되어 있음을 상기시킨다. “기억 속의 미래”는 오는 9월 서울 갤러리 장에서 열리는 셰인 구포그의 신작 개인전이다. 그의 국제적 행보가 언제나 되돌아오는 지점—시간, 지각, 그리고 의식을 형성하는 보이지 않는 힘—을 다시 묻는다. 포그는 제임스 웹 우주망원경의 이미지에서 영감을 받아, 시간을 분절하고 겹겹이 쌓아 올린 유약층을 통해 과거·현재·미래가 동시에 진동하는 포털을 만들어낸다. 그는 말했다. “과거를 들여다보아야 지금을 인식할 수 있고, 그래야 미래를 이해할 수 있습니다.” 웹 망원경이 보여주는 별의 탄생과 소멸은 그의 사고를 바꾸었다. “시간은 선형이 아니다. 우리가 보는 과거가 바로 현재다.” 그의 붓질은 기억과 가능성을 동시에 담으며, 마치 굴절된 빛의 파동처럼 흐른다. 또한 그의 공감각은 색채를 음악으로 번역해, 화면 위 흔적들이 시각과 청각의 공명을 함께 불러낸다. 나는 그의 작품 앞에 앉으면 빛의 동굴에 들어가는 듯하다. 인공이 아닌 원초적 만화경 속에서 그림자는 장막으로, 장막은 투명함으로 흩어지며, 모든 것은 끊임없이 유동한다. 거포그는 말한다. “관람자는 여러 순간의 시각을 동시에 목격하게 됩니다. 그것은 관점이 아니라 시간을 초월한 현존입니다.” 결국 “기억은 우리의 미래”는 향수도 예언도 아니다. 그것은 차원이 교차하는 현재의 순간을 살라는 초대이며, 기억과 미래가 하나로 접혀 있음을 보여준다. 그의 회화는 이렇게 말한다: 우리는 기억이자 미래이며, 지금 이 빛나는 순간 속에 접힌 존재다. CATALOG View Catalog here INSTALLATION VIEWS

FEB 19 - MAR 31, 2026 Intro Catalog Installation Views Next [C1] New York Alison Van Pelt: 40 Years Painting Portraits FEB 19 - MAR 31, 2026 Alison Van Pelt INTRO Her process begins with a carefully rendered photorealistic underpainting. She then applies successive horizontal layers of oil paint across the surface. This deliberate blurring softens contours and disrupts clarity. The effect is both subtle and radical. Faces that feel instantly recognizable become unstable, shifting between presence and disappearance. By working with iconic figures such as Marilyn Monroe or John F Kennedy, Van Pelt engages the collective memory embedded in mass media. The blurred surface challenges the authority of the photograph and questions the permanence of identity. What does it mean to know a face that has been endlessly reproduced. How does repetition alter memory over time. This exhibition traces forty years of commitment to this singular inquiry. Early works reveal her foundational engagement with photographic realism and painterly interference. Later paintings introduce greater luminosity and spatial openness while maintaining the rigor of her method. Across decades, the horizontal veils function as both formal structure and conceptual device, evoking time, distance, and the fragility of remembrance. In an era defined by the speed and saturation of images, Van Pelt’s paintings insist on duration and reflection. They invite viewers to slow down and look carefully. Portraiture here is not a fixed likeness. It is a living encounter shaped by perception, history, and the inevitable erosion of certainty. CATALOG View Catalog here INSTALLATION VIEWS

Jun 20 - Jul 22, 2025 Intro Catalog Installation Views Next [C1] New York Beautiful Rupture Jun 20 - Jul 22, 2025 INTRO "Beauty is not found in perfection, but in the moment it begins to break." Beautiful Rupture is a group exhibition that explores the tension and harmony born at the threshold between beauty and destruction, form and disintegration, nature and artifice. Through distinct materials and visual vocabularies, artists Kelly Berg, Mark Acetelli, Moon Insoo, and Kimi Kim reveal the quiet violence and fragile truths that lie beneath the surface of the beautiful. Kelly Berg evokes the power of shifting earth and volcanic eruptions — her paintings are charged with deep reds and fissured textures that speak to the sublime, overwhelming presence of nature. Mark Acetelli captures the serenity of the ocean, not as a passive subject, but as a contemplative surface teeming with silent depth and unspoken force. Moon Insoo sculpts with concrete, using an industrial material to channel memory, erosion, and the scars of time embedded in urban life. Kimi Kim deconstructs the iconic Chanel bag in ceramic, transforming a symbol of luxury into fragile artifacts that question desire, illusion, and the commodification of beauty. This exhibition does not portray rupture as an end, but as a beginning — a site of potential. Each artist invites us to consider how beauty is reshaped through breakage, tension, and transformation. A rupture is both collapse and emergence, fragility and power. In Beautiful Rupture, we encounter that delicate moment when beauty trembles, fractures, and redefines itself. CATALOG View Catalog here INSTALLATION VIEWS