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The Essence of Perception: Time, Reality, and Light Holiday Special Exhibition Shane Guffogg · Kim Kang Yong · Kim Sea Joong Dec 12, 2024 - Jan 11, 2025 The Essence of Perception: Time, Reality, and Light This exhibition centers on three artists who pose profound philosophical questions, using their art to explore and challenge the nature of human perception and understanding. The themes of time, reality, and light go beyond their visual representations, prompting a deeper reflection on how we experience and interpret the world. Time: Shane Guffogg Shane Guffogg asks, "How can I condense time and space into a single moment?" His works transcend the linear flow of time and space, merging them into a unified moment of infinite potential. Through layered abstraction and a complex interplay of colors and forms, Guffogg invites viewers to experience the simultaneity of eternity within a fleeting instant. His art challenges us to reconsider time not as a rigid construct but as a fluid and expansive dimension. Reality: Kim Kang Yong Kim Kang Yong poses the question, "Is what I see truly real?" Through his brick artworks, he examines the fundamental nature of perception, exploring the tension between visual illusion and physical reality. The bricks, which appear both tangible and ethereal, disrupt our assumptions about the material world. His work compels us to confront the subjectivity of our experiences, questioning the line between what we perceive and what truly exists. Light: Kim Sea Joong Kim Sea Joong inquires, "How can light be embodied on a flat surface?" This exploration extends into space and semi-relief works, where light becomes more than a visual element—it becomes a medium that defines and reshapes spatial experience. Through his innovative approach, Kim Se Joong blurs the boundaries between two-dimensional and three-dimensional forms, offering a transcendent interplay of light and shadow that invites viewers to reconsider the role of light in shaping perception. "The Essence of Perception" is perfectly aligned with the reflective and hopeful spirit of the holiday and New Year season. As the year comes to an end and a new one begins, this exhibition invites visitors to pause and reflect on timeless questions about how we perceive and interpret the world. It is an opportunity to connect with the universal themes of time, reality, and light, while embracing the transformative power of art to reimagine what we see and believe. Through this exhibition, we invite you on a philosophical journey where each work offers not answers but questions—an invitation to engage, reflect, and imagine new possibilities. "The Essence of Perception" reminds us of art’s unique ability to expand our horizons, challenge our assumptions, and illuminate the familiar in extraordinary ways.

Echoes of Elegance: Synmmetry in Memory Kim Haley Sep 9 - Sep 21, 2019 Echoes of Elegance: Symmetry in Memory 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.

United States, 1962 Artist Biography Works Next Shane Guffogg United States, 1962 BIOGRAPHY Shane Guffogg is an internationally celebrated contemporary painter whose abstract works bridge the emotive depth of classical traditions with the innovative spirit of modern abstraction. Born in California’s San Joaquin Valley in 1962, Guffogg grew up surrounded by vast landscapes and open skies that profoundly shaped his artistic vision. He studied at the California Institute of the Arts (CalArts) under the mentorship of influential artists like John Baldessari, where he developed his distinctive approach to exploring light, space, and the human experience through painting. Guffogg’s style is defined by intricate layers of translucent oil paint, meticulously applied in a glazing technique that creates depth and luminosity. His paintings feature rhythmic, looping forms that seem to flow endlessly, evoking the sensation of movement and infinity. The works often oscillate between sharp clarity and soft diffusion, inviting viewers into a contemplative interplay between light, color, and form. Drawing inspiration from Renaissance masters such as Rembrandt and Caravaggio, as well as Abstract Expressionists like Mark Rothko, Guffogg’s works transcend time and tradition, resonating with universal themes of perception, spirituality, and transformation. In 2024, Guffogg presented a landmark solo exhibition titled At the Still Point of the Turning World – Strangers of Time at the Scala Contarini del Bovolo in Venice, Italy. This exhibition, aligned with the 60th International Art Exhibition – La Biennale di Venezia, showcased 21 new paintings inspired by T.S. Eliot’s Four Quartets. Through this series, Guffogg explored the interplay of time, memory, and migration, weaving themes of transience and permanence into his work. Notably, the exhibition incorporated augmented reality (AR) and artificial intelligence (AI), offering viewers a multisensory experience that deepened their connection to the paintings. Guffogg’s works have been exhibited extensively in the United States, Europe, and Asia, and are housed in major public and private collections, including the Los Angeles County Museum of Art (LACMA), the Hammer Museum, and the Vatican Museum. His ability to combine technical mastery with profound emotional resonance has earned him widespread acclaim as one of the most significant abstract artists of his generation. Currently based in Los Angeles, Guffogg continues to create works that challenge and expand the boundaries of abstraction. His paintings serve as meditative spaces where viewers can reflect on the interconnectedness of light, time, and human experience, offering a profound and transformative encounter with the art of seeing. SOLO EXHIBITIONS 2024 Shane Guffogg: Summer Solstice on Western, El Nido, Los Angeles, curated by Victoria Chapman 2024 Shane Guffogg: “Vibrations” Vanities Gallery, Paris, France curated by Victoria Zhong and Thierry TESSIER 2024 Shane Guffogg: “At the Still Point of the Turning World- Strangers of Time”, Scala Contarini del Bovolo Museum, Venice, Italy, co-curated by Pier Paolo Scelsi, and Andi Campognone 2024 Shane Guffogg: “Lines and Dots - Thoughts Before Language” Blue Room at El Nido, Los Angeles 2023 Shane Guffogg: “Music Within the Patterns”, with pianist Anthony Cardella; featuring painting, lecture and performance curated by VC Projects, El Nido, Los Angeles, CA 2023 Shane Guffogg: “Maximalism/Minimalism”, with Pianist Anthony Cardella; Art & Music Immersion. curated by VC Projects, at Schoenfeld Symphonic Hall, USC, Los Angeles,CA 2023 Shane Guffogg: "Xingu”, Rita House, presented by Parasol, and VC Projects, Los Angeles, featuring paintings by Shane Guffogg, piano performance by Anthony Cardella 2023 Shane Guffogg: “Xingu”, The Blue Room at El Nido, Los Angeles, curated by VC Projects, featuring painting and piano performance by Anthony Cardella 2022 Shane Guffogg: “Blue” The Blue Room at El Nido, Los Angeles, curated by VC Projects 2022 Shane Guffogg: “The Present as Future is Past - Conversations Through Art” El Nido, Los Angeles, CA curated by VC Projects and Vramyan Interiors 2022 Shane Guffogg: “Translations of Being Through Sight and Sound” El Nido, curated by VC Projects, Los Angeles, CA 2021-2022 "One Picture Show: Shane Guffogg”, SPACE 1028, Los Angeles, CA 2021 Shane Guffogg: “40 Years of Self-Portraits”, Orange County Center for Art Santa Ana, CA 2020 Shane Guffogg: “Path of Light”, Casa Regis Center for Culture and Contemporary Art Mosso Valdilana, Italy 2019 Shane Guffogg: “New Paintings”, MUSE, Miami, Florida 2017 Shane Guffogg: “The Observer is the Observed” The Gallery of the Museum Center, Baku, Azerbaijan 2017 Shane Guffogg: “Dance of Thought” Manhattan Beach Art Center, Manhattan Beach, CA 2016 Shane Guffogg: “Crossings” Porterville College, Porterville, CA 2015 “The Art of Shane Guffogg”, (1981 - 2015) 35 years Retrospective, The Lindsey Museum, Lindsay, CA 2015 Shane Guffogg: “New Paintings”, Bert Green Fine Art, Chicago, Il. 2015 Shane Guffogg: The Observer is the Observed” The Imperial Museum of Fine Arts, St. Petersburg, Russia 2015 “Shane Guffogg” Paintings, The Lodge, Los Angeles, CA. 2014 “32 Paintings and Counting” Seagram Gallery, Marlborough, LA CA 2014 “Lumen Lapsus” Leslie Sacks Fine Art, Brentwood, CA www.blouinartinfo.com chosen for Top Exhibitions of the week 2013 “The Annunciation of Ginevra de Benci” Leslie Sacks Fine Art, Brentwood, CA reviewed Artscene magazine, Arts Ltd magazine, The Huffington Post 2012 “1990 – 2012: A Retrospective” Pianta Villa di Donato, Naples, Italy reviewed Napoli Cronaca, featured on Rai TV - Unomattina Caffè 2012 Ginevra de Benci” Bert Green Fine Art, Chicago, Ill. 2011 “At the Still Point” Leslie Sacks Fine Art, Brentwood, CA 2010 New Paintings, Leslie Sacks Fine Art, Brentwood, CA 2009 “Communion” Leslie Sacks Fine Art, Brentwood, CA Reviewed Artscene magazine 2008 “Paintings” Leslie Sacks Fine Art, Brentwood, CA Reviewed Artscene magazine 2008 “Avalon” Citi Group, One Sansome St. San Francisco, CA, Jan Casey and associates in conjunction with Geras Tousignant Gallery 2008 “The Future as Past is Present- Paintings for 2001 to 2006” 425 Market St. Bank of America, San Francisco, CA Jan Casey and associates in conjunction with Geras Tousignant 2006 “Passionately Non-objective”, Lawrence Asher Gallery, Los Angeles, CA In conjunction with the Riverside Museum 2006 “Painting with Light”, Studio Blue Gallery, Los Angeles, CA 2005 “Between Heavens”, Barone Odom Gallery, Rome, Italy 2004 2004 When Each Was Both, Judy Saslow Gallery, Chicago, IL. 2004 D2 Arts Los Angeles, CA 2000 Featured Artist / Grossart.com 1999 New Paintings / Transamerica Gallery, Los Angeles, CA curated by Patrick Ela 1998 Stills / Corridor Gallery, Los Angeles, CA, continued 1997 Stills / Corridor Gallery, Los Angeles, CA, Reviewed L.A. Weekly, Pick of the Week 1996 Paintings and works on Paper from 1992-1996 Richard Iri Loft Laguna Beach, CA, 1995 New Paintings / Kantor Gallery, Los Angeles CA Reviewed L.A. Times GROUP EXHIBITIONS 2023 - 2024 “Shaping Gravity: Abstract Art Beyond the Picture Plane” Forest Lawn Museum, Glendale, CA, October 19, 2023 - March 10, 2024, curated by James Fishbourne, Director Forest Lawn Museum 2023 “The Circle of Sam Francis”, Bakersfield Museum of Art, Bakersfield, CA, May - September 2023 2023 “Homage to Sam Francis” Slow Art Day April 15, 2023 exhibition, curated by VC Projects, contributing artist group exhibition featured online: https://www.vcprojects.art/ homage-to-sam-francis-slow-art-day 2022 “AU 79PR Spring Show”, Journe Residence, Los Angeles, CA, April 2022 EXPO Chicago, Tim Yarger Fine Arts, Chicago, Illinois, April 2022 “Influence of Place” Museo Ercolanense - Reggia Borbonica di Portici, Naples, Italy Curated by Cynthia Penna 2021 “The Sun is the Same” Laurel Hills Residence of David Thompson Assemblage+ 5 person exhibition, curated by Gross Art for Los Angeles Art Week, Los Angeles, CA 2021 “The art of Art”, Pop up exhibition, Villa Pacifica, Los Angeles, CA curated by GrossArt/ for Hierony Vision 2021 “In Your Absence Something can be Born”, El Nido, Los Angeles, curated by VC Projects 2021 “Flower Festival 2021” www.herati.art International Online Group Exhibition 2020 “Agent of Ordinary Pleasures” The Lodge, Los Angeles, CA curated by Victoria Chapman 2019 “House of L x Kuper Sotheby’s International Realty House Party”, in support with San Antonio Museum of Art, San Antonio, TX 2019 “House of L x Kuper Sotheby’s International Realty House Party”, Austin, Texas 2019 “Libertà”, Gallergry, curated by Gryanne Stunnenberg, Venice, Italy 2019 “Woman’s Secrets”, Art Tower, Arts Council Azerbaijan, Baku Azerbaijan 2019 “The Circle of Truth”, Lancaster Museum of Art & History, Lancaster, CA 2018 “Glasstress Ptuj Slovenija”, Galerija mesta Ptuj / Ptuj City Gallery, Prešernova 29, Ptuj, SI 2018 “The Mecca, California”, The Lodge, Los Angeles, CA 2018 “The Circle of Truth”, New Museum Los Gatos, Los Gatos, CA 2018 “Chicago Print Crawl”, Bert Green Fine Art, Chicago, Illinois 2017 “Portraiture - An Exhibition”, Orange County Center for Contemporary Art Santa Ana, CA 2017 “Diversity” Art Tower, Arts Council Azerbaijan, Baku Azerbaijan 2017 Art Karlsruhe International Art Fair Modern and Contemporary Art, Karlsruhe, Germany 2017 “Pastels” Lindsay Museum, Lindsay, California 2017 Innsbruck Contemporary Art fair, Innsbruck, Austria 2016 Pop Austin, International Art Fair, Austin, Texas 2016 “Portraiture - An Exhibition” Lindsay, Museum, Lindsay, California 2016 Olympia Art Fair, London, England 2015 Pop Austin, International Art Fair, Austin, Texas 2015 “Q4” Billboard Creative, curated by Mona Kuhn, Los Angeles, CA 2015 “TOUCH / The L.A. Art Scene: Photographic Portraits of Artists by Jim McHugh Paired with Original Artworks”, El Segundo Museum, El Segundo, CA 2015 “Illumination” Pop Austin, International Art Fair, Austin, Texas 2015 “The Green Show”, The Loft at Liz’s, Los Angeles, CA 2015 “Contemporary Constructions and in the Studio”, California Center for the Arts, Escondido, CA 2014 “Abstraction from 1911 to 2014” Leslie Sacks, Brentwood, CA 2014 “Classical Values” Leslie Sacks, Brentwood CA 2014 “Drawings” Bert Green Fine Art, Chicago, Ill. 2013 “Scope Miami” Fu Xin Gallery, Miami, FL 2013 “Ink Miami” Leslie Sacks Fine Art, Miami, FL 2013 “The Magnificent Seven” Pianta Villa di Donato, Naples, Italy 2013 “Transitive” Fu Xin Gallery, Miami, FL 2013 “Incognito” Santa Monica Museum, Santa Monica, CA 2013 “Portraits of Joan Quin” John Wayne Airport, Orange County, CA 2012 Art Platform LA, Leslie Sacks Gallery 2012 Art San Diego, San Diego, CA. Leslie Sacks Fine Art 2012 “Inaugural Exhibition” Bert Green Fine Art, Chicago, Ill. 2012 Art Bologna, Bologna, Italy, Fu Xin Gallery 2011 “Continuum- Francis, Ruscha, Guffogg Art Platform LA, Leslie Sacks Fine Art 2010 “Elements of Nature” Selections from the Frederick Weisman Foundation Carnegie Museum, Oxnard CA, Museum of Art, New Orleans 2009 “For Those of Us Still Standing” Pharmaka, Los Angeles, CA 2009 Marine Inaugural Group Show Venice, CA 2008 “Abstraction and Photography” Pacific Design Center, Los Angeles, CA. 2008 “Marks on Paper” Pharmaka Gallery, Los Angeles, CA 2007 “Made in California- from the Weisman collection” Jewish University Los Angeles, CA 2007 “LA Icons”, Lisa Coscino Gallery, Pacific Grove, CA 2007 “Tres Desperados”, Pharmaka Gallery, Curated by Paul Ruscha 2007 “Sister City Love Slam”, Englebrot, Berlin Germany 2007 “Then and Now- Painters and Their Process”, Pharmaka Gallery, Los Angeles, CA 2007 “Viva Vetro! Glass Alive! Venice and America”, 1950-2006 Carnegie Museum of Art, Pittsburg, PA 2006 “Non-Objectivity” Pharmaka Gallery, Los Angeles, CA in conjunction with the Riverside Museum 2006 “Fin” Bedlam Gallery, Los Angeles, CA 2006 “How it Happens” Pharmaka Gallery, Los Angeles, CA 2005 “Liquid Los Angeles: Currents of Contemporary Watercolor Painting" Pasadena Museum, Pasadena, CA Curated by Leslie Jones 2005 “Incognito” Santa Monica Museum Santa Monica, CA 2005 “Small Wonders” Pharmaka Gallery Los Angeles, CA 2005 “Taste” The Back Space/ GrossArt West Hollywood, CA 2005 “Full Moon; The collection of Paul Ruscha” Pharmaka Gallery, Los Angeles, CA 2005 “Venice 2 Venice” Pharmaka Gallery, Los Angeles, CA 2005 “Art @ Home” Hill Street Loft/ GrossArt Los Angeles, CA 2005 “Blue” Pharmaka Gallery, Los Angeles, CA 2005 “Venice 2 Venice” V and A Gallery, Venice, Italy 2005 “Mostracollettiva.03 ossessioni ossessive” Barone Odom, Rome Italy 2005 Inside The Box/ Pharmaka, Bert Green Fine Art, Los Angeles, CA Outside the Box / Pharmaka-Art, Los Angeles, CA Reviewed by Peter Frank LA Weekly Pick of the Week 2004 Inaugurazione, Barone Odom Galleria D’Arte Contemporanea, Rome Italy 2004 Reality of Abstraction, Abstraction of Reality Shane Guffogg and John Scane Curated by Adam Gross / GrossArt Greystone Mansion, Beverly Hills, CA 2004 Modus Operandi, Michael Folonis, AIA, Santa Monica, CA Curated by Donna Napper 2004 Pharmaka, Bedlam Downtown, Los Angeles, CA, reviewed Coagula 2004 “Incognito” Santa Monica Museum Santa Monica, CA 2004 Pharmaka, Bedlam Gallery Hillhurst, Los Angeles, CA 2004 Pharmaka, Corridor Gallery, Los Angeles, CA 2003 Courtyard Eleven, Corridor Gallery, Los Angeles, CA 2003 Hypertension Color, Thema Gallery, Santa Monica, CA, Curated by Chip Tom 2003 California 10 Contemporary/ Judy Saslow Gallery, Chicago, IL Curated by Chip Tom 2002 Merging Artist/ Spike Gallery NY, NY reviewed NYC Gallery Guide 2002 Colors/ Sandroni Rey Gallery, Venice, CA Curated by Paul Rusconi 2000 Featured artist on Artnet.com, Abstraction of the 20th Century 2000 Works On Paper / Skidmore Contemporary Art, Malibu, California 1999 BIG / Skidmore Contemporary Art, Malibu, California 1999 Art for Tennessee Williams / The Zoo District, Los Angeles, California Reviewed in LA 1999 Drawn from the Artist Collections / The Armand Hammer Museum Los Angeles, California catalogue available Reviewed on KCRW Art Talk, reviewed L.A Weekly, Pick of the Year 1999 Drawn from the Artist Collections / The Drawing Center New York Reviewed in N.Y. Times by Roberta Smith May 21st, 1999 catalog published 1998 Hamilton Press Prints / University of Oklahoma, Oklahoma City, Oklahoma Fred Jones Jr. Museum Catalogue available 1997 Hamilton Press Prints / Pomona College, Pomona, CA 1996 One Apiece / The Corridor Gallery, Los Angeles, CA 1996 Inaugural Show / RISK Loft, Laguna, CA 1996 Six for Ninety Six / Kantor Gallery, Los Angeles, CA 1995 International Artists Works on Paper / Fahrid Chaib Contemporary Art 1995 L.A. Artists / Fahrid Chaib Contemporary Art, Venice, CA 1995 Museum Print Show / Santa Monica Museum, Santa Monica, CA 1994 Evening of Masque / Newport Harbor Museum, Newport Beach, CA 1994 The Gramercy / AMO Gallery, Los Angeles, CA 1994 Senses Of Reality / Soma Gallery, San Diego, CA 1994 Serious Beauty II / Stuart Katz Gallery, Laguna Beach, CA Curated by Irit Krieger Reviewed Orange County ,L.A. Times 1993 Serious Beauty / Metropolitan Museum, Los Angeles, CA Curated by Irit Krieger 1993 Gallery Artist Group Show / The Works Gallery, Costa Mesa, CA 1993 What's Next! / Soma Gallery, San Diego, California 1993 Focus: The Integrity of Structure / The Works Gallery, Costa Mesa, CA 1993 Los Angeles Aids Project / Patricia Shea Gallery, Santa Monica, CA 1992 Gallery Artist Opening Show / Soma Gallery, San Diego, CA 1991 Abstraction for the Information Age The Works Gallery Costa Mesa, CA Curated by Irit 1991 New Circle: American and Soviet Paintings / Martin Luther King Center, Washington, D.C. Catalogue publsihed 1989 Painters and Photographers / Wade Gallery, Los Angeles, CA 1987 Alumni Exhibition / California Institute of the Arts, Valencia, CA WORKS Load More

Korea Artist Biography Works Media 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 MEDIA

2022 Emotions in Transition KOO NAHYUN JUL 14- JUL 28 Everywhere Project – New York IM JI BIN JUL 22- JUL 29 Show Me Your Heart X KIM YOUNG MI: Annual Gala 2022 KIM YOUNG MI DEC 12- DEC 12 Echoes of My Dear Friend: A Robot's Lament ANIKOON DEC 1- DEC 31

Apr 8, 2024 The First Retrospective Exhibition in North America Honoring the Monochrome Master Cho Yong Ik No 102, 1966, oil on canvas, 45.6” X 58.6”. Cho Yong Ik. Cho Yong Ik (Korea, 1934-2023) Gallery Chang in Manhattan, New York, will host the retrospective exhibition 'The Hidden Masterpiece: Cho Yong Ik 1934-2023', marking the first in North America since Cho Yong Ik's passing last year. Cho Yong Ik is esteemed as a pivotal figure in the formation of contemporary Korean art, leading Korean abstract painting alongside major figures like Park Seo-bo, Chung Sang-Hwa, and Yun Hyong-keun. Born in 1934 in North Pyongan Province, he graduated from Seoul National University's Department of Painting and served as a professor at Chugye University for the Arts. Cho's participation in joint exhibitions such as those of the 'Korea Modern Art Association' and the '60s Art Association' in 1961 was pivotal for the development of Korean abstract art. Lee Min Ji, Senior Curator at Gallery Chang, explained, "From the late 1950s to the 1980s, Cho Yong Ik showed the most vigorous activity as an artist. His participation in prestigious international exhibitions such as the 2nd Paris Biennale in 1961 and the Bienal Sao Paulo in 1967 helped introduce his name globally." Though active alongside the first generation of monochrome painters from the 1960s, personal circumstances and illness in the early 2000s led Cho to step back from the art scene. However, his works have been reintroduced to acclaim, including solo exhibitions at the Sungkok Art Museum in 2016 and Olivier Malingue Gallery in London, and are currently featured in the National Museum of Modern and Contemporary Art's ongoing exhibition on 'Geometric Abstract Art in Korea'. He is being reassessed both domestically and internationally as a leading figure of the first generation of monochrome painters in Korea. The Senior Curator noted, "This exhibition will showcase over 20 works, offering a valuable opportunity to explore his artistic world spanning 70 years and the developmental history of Korean abstract painting." Furthermore, this exhibition anticipates significant attention from the global art community by presenting Cho Yong Ik's early Formel paintings such as <59-119> (1959) and (1966), as well as representative works of Korean geometric abstraction like <72-112> (1973) and <72-113> (1973), never before shown anywhere in Korea or abroad. [Source from THE KOREA DAILY press release, provided by Jongwon Park] Previous Next

South Korea, 1954 Artist Biography Works Next Choi Sungho South Korea, 1954 BIOGRAPHY Sung Ho Choi is a Korean American mixed media artist whose work delves into themes of cultural identity, immigration, and the Asian American experience. Born in Seoul, South Korea, in 1954, Choi completed his Bachelor of Fine Arts at Hongik University in 1980. He moved to the United States in 1981 and earned his Master of Fine Arts from the Pratt Institute in 1984. Since then, he has been living and working in New York City and Bergen County, New Jersey. Choi's art is characterized by a fusion of painting, drawing, sculpture, and mixed media, reflecting his bicultural experiences. His works often incorporate everyday materials and found objects, creating visual narratives that explore the contrasts and complexities of being a minority within a majority culture. Notable projects include "American Dream" (1988-1992), where he used ballpoint pen on lottery tickets pasted on wood panel to comment on the elusive nature of the American dream for immigrants. In 1990, Choi founded the SEORO Korean Cultural Network, a collective aimed at promoting Korean American artists. His work has been exhibited in solo exhibitions at institutions such as the University of Massachusetts Amherst, the Queens Museum of Art, and the Kumho Museum of Art. In 1996, he was commissioned by Percent for Art to create an installation work, further cementing his role in the public art sphere. One of his significant public artworks is "Quiltroad" (1999), a 17-foot-wide acrylic on canvas painting located in the U.S. Courthouse in Seattle, Washington. This piece reflects his interest in the journey of immigrants and the patchwork of cultures that constitute American society. Through his multifaceted works, Sung Ho Choi offers profound insights into the immigrant experience, identity, and the blending of cultures, making significant contributions to contemporary art and the discourse on cultural integration. WORKS

Apr 17, 2024 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 Previous Next

2025 CHASE Project HONGBIN KIM JUL 24 - AUG 5,2025

CHASE Project JUL 24 - AUG 5, 2025 CHASE Project Hongbin Kim’s exhibition, h color and form. We invite you to Something Sweet Gallery Cafe to encounter a new realm of art that transcends the boundaries of perception and being.