Oil Painting by Jeon Joon Yeop. 64 x 38 inches, 162 x 97 cm. Jeon Joon Yeop (born 1953) is a well-known artist in South Korea, with numerous art reviews. He was the top-selling artist in last year’s Korea International Art Fair, Korea’s biggest art fair. Instead of finding comfort in his successes, Jeon accepts popularity as a challenge to further explore how to speak the ancient language of Korean landscape painting with a modern vocabulary of techniques, such as pouring, scratching, spreading, soaking, smudging, blowing, and densely recoating oil paint onto the canvas. Another seemingly modern technique that Jeon employs, the presentation of multiple viewpoints in a single painting, is actually an ancient technique in East Asian painting. Jeon even adds the viewpoint of the person in the painting, creating an attachment for the viewer of the painting so that the landscape is not objective and detached, thus keeping, and sharing, the Korean traditional subjective and harmonious view of nature.

Oil Painting by Jeon Joon Yeop. 46 x 32 inches, 117 x 81 cm. Jeon Joon Yeop (born 1953) is a well-known artist in South Korea, with numerous art reviews. He was the top-selling artist in last year’s Korea International Art Fair, Korea’s biggest art fair. Instead of finding comfort in his successes, Jeon accepts popularity as a challenge to further explore how to speak the ancient language of Korean landscape painting with a modern vocabulary of techniques, such as pouring, scratching, spreading, soaking, smudging, blowing, and densely recoating oil paint onto the canvas. Another seemingly modern technique that Jeon employs, the presentation of multiple viewpoints in a single painting, is actually an ancient technique in East Asian painting. Jeon even adds the viewpoint of the person in the painting, creating an attachment for the viewer of the painting so that the landscape is not objective and detached, thus keeping, and sharing, the Korean traditional subjective and harmonious view of nature.

Oil Painting by Jeon Joon Yeop. 46 x 32 inches, 117 x 81 cm. Jeon Joon Yeop (born 1953) is a well-known artist in South Korea, with numerous art reviews. He was the top-selling artist in last year’s Korea International Art Fair, Korea’s biggest art fair. Instead of finding comfort in his successes, Jeon accepts popularity as a challenge to further explore how to speak the ancient language of Korean landscape painting with a modern vocabulary of techniques, such as pouring, scratching, spreading, soaking, smudging, blowing, and densely recoating oil paint onto the canvas. Another seemingly modern technique that Jeon employs, the presentation of multiple viewpoints in a single painting, is actually an ancient technique in East Asian painting. Jeon even adds the viewpoint of the person in the painting, creating an attachment for the viewer of the painting so that the landscape is not objective and detached, thus keeping, and sharing, the Korean traditional subjective and harmonious view of nature.

Oil Painting by Jeon Joon Yeop. 36 x 25.5 inches, 91 x 65 cm. Jeon Joon Yeop (born 1953) is a well-known artist in South Korea, with numerous art reviews. He was the top-selling artist in last year’s Korea International Art Fair, Korea’s biggest art fair. Instead of finding comfort in his successes, Jeon accepts popularity as a challenge to further explore how to speak the ancient language of Korean landscape painting with a modern vocabulary of techniques, such as pouring, scratching, spreading, soaking, smudging, blowing, and densely recoating oil paint onto the canvas. Another seemingly modern technique that Jeon employs, the presentation of multiple viewpoints in a single painting, is actually an ancient technique in East Asian painting. Jeon even adds the viewpoint of the person in the painting, creating an attachment for the viewer of the painting so that the landscape is not objective and detached, thus keeping, and sharing, the Korean traditional subjective and harmonious view of nature.

A Very Large Painting, Assembled Spirits by Ahn Moon Hoon. Paintings by Ahn Moon Hoon sell very well at auctions in Korea. His popularity is attributed to the deeply spiritual nature of his paintings, and his textured, three-dimensional paper surfaces. This really is an exceptional example of his work, with a beautifully saturated palette and a vibrant aura. The design and colors of the large wood frame are also wonderful and perfect. The asking price here is much lower than it would be at auction in Korea, especially for such a fine and very large example. Frame: 75.75 x 60.5 inches, 192.5 x 154.5 cm; Painting: 64.5 x 49 inches, 164 x 124.5 cm.

Won Ju Seo's work is featured in the Spring 2013 issue of Fiber Art Now. The work offered here is Fragmented Memories by Won Ju Seo. This beautiful work of art was is in the recently-published McGraw-Hill fine arts textbook, Art Talk. Plexiglass box frame: 25 x 23.75 inches, 63.5 x 60.5 cm; Textile: 23 x 22 inches, 58.5 x 56 cm. Hand made with Korean silk, organza, paper, felt. The work of Korean textile artist, Won Ju Seo, is in major museums and prominent collections. She is renowned for her modern approach to the bojagi, the traditional Korean wrapping cloth that has been the subject of many museum exhibitions lately. The superiority of her breath-taking technique is matched by the artistry of her designs and the creative beauty of her palette. The dazzling juxtaposed geometrics are inspired by and pay tribute to the anonymous women who created bojagi for hundreds of years, while the gorgeous colors of Won Ju Seo's palette are unique to her modern creations.

Oil Painting by Jeon Joon Yeop. 29 x 21 inches, 73 x 53 cm. Jeon Joon Yeop (born 1953) is a well-known artist in South Korea, with numerous art reviews. He was the top-selling artist in last year’s Korea International Art Fair, Korea’s biggest art fair. Instead of finding comfort in his successes, Jeon accepts popularity as a challenge to further explore how to speak the ancient language of Korean landscape painting with a modern vocabulary of techniques, such as pouring, scratching, spreading, soaking, smudging, blowing, and densely recoating oil paint onto the canvas. Another seemingly modern technique that Jeon employs, the presentation of multiple viewpoints in a single painting, is actually an ancient technique in East Asian painting. Jeon even adds the viewpoint of the person in the painting, creating an attachment for the viewer of the painting so that the landscape is not objective and detached, thus keeping, and sharing, the Korean traditional subjective and harmonious view of nature.

Lee Seung O's innovative paper assemblage, 37.5 x 33.5 inches, 95.25 x 85 cm. Lee's work is in the permanent collection of many major museums, including the National Museum of Contemporary Art in Seoul, and he has an excellent auction record, with not a single work going unsold in the many major auctions that have listed his work over the last several years, including Christie's. It is said of Lee Seung O that he is an old spirit with a young mind. While so many young Korean artists are looking to the West for guidance, Lee has found inspiration in the soulful symbolism of traditional Korean folk art. His work is a most inventive and unrestrained interpretation of this tradition, true to the creative spirit of Korean folk art. He has created an entirely new technique of stacking colored paper and wetting the stacks so that they will be stuck together when they dry, then cutting the stacks into strips, and then assembling 'painting-like' compositions that use the edge of the stacks of paper, creating exciting works of great textural density. His work uses an everyday material to make us look at objects (and the world) from a different viewpoint and in an entirely new way, reminding us that innovation and beauty shouldn’t be forced or contrived and needn’t be sought in unknown regions, but can be rooted in tradition and found naturally.

Yoon Kwang Cho had an acclaimed solo exhibition that started at the Philadelphia Museum and traveled to other major museums in America. He is widely recognized as the world's foremost practitioner of Korean Buncheong Art. This is an exemplary piece by one of Korea's most famous, most exhibited, and most collected ceramic artists. His work is in the permanent collections of many major museums around the world. He was selected by Korea's National Museum of Contemporary Art as Artist of The Year in 2004. 8.5 inches (21.5cm)h x 4.5 inches (11cm)w x 3.5 inches (9cm)d.

Lee Seung O's innovative paper assemblage, 36 x 28.75 inches, 91 x 73 cm. Lee's work is in the permanent collection of many major museums, including the National Museum of Contemporary Art in Seoul, and he has an excellent auction record, with not a single work going unsold in the many major auctions that have listed his work over the last several years, including Christie's. It is said of Lee Seung O that he is an old spirit with a young mind. While so many young Korean artists are looking to the West for guidance, Lee has found inspiration in the soulful symbolism of traditional Korean folk art. His work is a most inventive and unrestrained interpretation of this tradition, true to the creative spirit of Korean folk art. He has created an entirely new technique of stacking colored paper and wetting the stacks so that they will be stuck together when they dry, then cutting the stacks into strips, and then assembling 'painting-like' compositions that use the edge of the stacks of paper, creating exciting works of great textural density. His work uses an everyday material to make us look at objects (and the world) from a different viewpoint and in an entirely new way, reminding us that innovation and beauty shouldn’t be forced or contrived and needn’t be sought in unknown regions, but can be rooted in tradition and found naturally.

Lee Seung O's innovative paper assemblage, 36 x 28.75 inches, 91 x 73 cm. Lee's work is in the permanent collection of many major museums, including the National Museum of Contemporary Art in Seoul, and he has an excellent auction record, with not a single work going unsold in the many major auctions that have listed his work over the last several years, including Christie's. It is said of Lee Seung O that he is an old spirit with a young mind. While so many young Korean artists are looking to the West for guidance, Lee has found inspiration in the soulful symbolism of traditional Korean folk art. His work is a most inventive and unrestrained interpretation of this tradition, true to the creative spirit of Korean folk art. He has created an entirely new technique of stacking colored paper and wetting the stacks so that they will be stuck together when they dry, then cutting the stacks into strips, and then assembling 'painting-like' compositions that use the edge of the stacks of paper, creating exciting works of great textural density. His work uses an everyday material to make us look at objects (and the world) from a different viewpoint and in an entirely new way, reminding us that innovation and beauty shouldn’t be forced or contrived and needn’t be sought in unknown regions, but can be rooted in tradition and found naturally.

Lee Seung O's innovative paper assemblage, 36 x 26 inches, 91 x 66 cm. Lee's work is in the permanent collection of many major museums, including the National Museum of Contemporary Art in Seoul, and he has an excellent auction record, with not a single work going unsold in the many major auctions that have listed his work over the last several years, including Christie's. It is said of Lee Seung O that he is an old spirit with a young mind. While so many young Korean artists are looking to the West for guidance, Lee has found inspiration in the soulful symbolism of traditional Korean folk art. His work is a most inventive and unrestrained interpretation of this tradition, true to the creative spirit of Korean folk art. He has created an entirely new technique of stacking colored paper and wetting the stacks so that they will be stuck together when they dry, then cutting the stacks into strips, and then assembling 'painting-like' compositions that use the edge of the stacks of paper, creating exciting works of great textural density. His work uses an everyday material to make us look at objects (and the world) from a different viewpoint and in an entirely new way, reminding us that innovation and beauty shouldn’t be forced or contrived and needn’t be sought in unknown regions, but can be rooted in tradition and found naturally.

Lee Seung O's innovative paper assemblage, 36 x 18.5 inches, 91 x 47 cm. Lee's work is in the permanent collection of many major museums, including the National Museum of Contemporary Art in Seoul, and he has an excellent auction record, with not a single work going unsold in the many major auctions that have listed his work over the last several years, including Christie's. It is said of Lee Seung O that he is an old spirit with a young mind. While so many young Korean artists are looking to the West for guidance, Lee has found inspiration in the soulful symbolism of traditional Korean folk art. His work is a most inventive and unrestrained interpretation of this tradition, true to the creative spirit of Korean folk art. He has created an entirely new technique of stacking colored paper and wetting the stacks so that they will be stuck together when they dry, then cutting the stacks into strips, and then assembling 'painting-like' compositions that use the edge of the stacks of paper, creating exciting works of great textural density. His work uses an everyday material to make us look at objects (and the world) from a different viewpoint and in an entirely new way, reminding us that innovation and beauty shouldn’t be forced or contrived and needn’t be sought in unknown regions, but can be rooted in tradition and found naturally.

Lee Seung O's innovative paper assemblage, 24 x 18 inches, 61 x 46 cm. Lee's work is in the permanent collection of many major museums, including the National Museum of Contemporary Art in Seoul, and he has an excellent auction record, with not a single work going unsold in the many major auctions that have listed his work over the last several years, including Christie's. It is said of Lee Seung O that he is an old spirit with a young mind. While so many young Korean artists are looking to the West for guidance, Lee has found inspiration in the soulful symbolism of traditional Korean folk art. His work is a most inventive and unrestrained interpretation of this tradition, true to the creative spirit of Korean folk art. He has created an entirely new technique of stacking colored paper and wetting the stacks so that they will be stuck together when they dry, then cutting the stacks into strips, and then assembling 'painting-like' compositions that use the edge of the stacks of paper, creating exciting works of great textural density. His work uses an everyday material to make us look at objects (and the world) from a different viewpoint and in an entirely new way, reminding us that innovation and beauty shouldn’t be forced or contrived and needn’t be sought in unknown regions, but can be rooted in tradition and found naturally.

'Reflect' by Jahee Lee, mirror constructed entirely of antique wood, metal, and textile with the ten symbols of longevity (sipjangsaeng), only the glass is new. 47.5 x 30 inches, 120.5 x 76 cm. Growing up with parents who were social workers in a traditional Korean Hanok house of hand-hewn timber, Jahee Lee developed both a deep affection for people and for traditional materials. When her parents' orphanage, the Lighthouse in Haenam (est. 1953) was recently demolished, she decided to use the materials from the building to create mirrors. Someone else would probably have used the materials to create furniture or other structures, but mirrors are a thought-provoking choice. Jahee says "A mirror is an object that has many delicate layers of meaning. Through this object you can realize the meaning behind yourself and see within your life. When you are facing a mirror you cannot deny your feelings or deceive yourself. The mirror tells you exactly the truth with clarity that you cannot deny, it embraces you as you are, and it makes you think about yourself and how you relate to your world around you. I hope that by using materials from the old Lighthouse orphanage, the love and warmth and traditional values taught and practiced there will live on and inspire the person who looks in this mirror."