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Confession in red,  Bamboo tree, threads, wooden tee, soywax, heating line, 4 × 4 × 98.5 inches

Born in 1968 in Cheongju, Korea / Currently lives in Cheongju, Korea


Lately, I am very much interested in the human consciousness expressed in the traditional funeral rites. Innate or aquired conscious activities of human beings are based on his or her subconsciousness, which seems to be originated from super consciousness for a long time. I put wooden pins into 250cm-long bamboo trees. That’ s how I made my work, ‘Red Confession’ Then I wound red threads over them. The bamboo trees are filled with hot wires and soy-wax. As time goes by, the soy-wax inside them is going to melt and drop like tears. I think confession is a self-introspection which is different from repentance and tears are the visualization of it. It is the illumination accumulated in the deep human consciouness from the beginning.

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Margerita Reina, Oil on canva, 22 x 16 inches, 2018

Brian Novatny, an Ohio native, currently resides in Brooklyn, NY. In 1987, he received his undergraduate degree in fine arts from the Columbus College of Art & Design in Columbus, Ohio and obtained his M.F.A. from the Yale School of Art in 1990.


I am currently working on a series of “portrait” paintings, which are based on 19th and 18th century portrait paintings.The subjects of these paintings represen tmembers of anaristocratic class.  The apparel and settings of these subjects depicted in these paintings are emblematic of their status and privilege. The initial impetus of these paintings was to memorialize the importance was.  However, as their prominence has diminished through the years, the artists, who painted their portraits, have overshadowed the notoriety of their patrons. Through my process in painting, I am taking these portrait paintings to a further place of anonymity.  The paintings, which I am making, are interpretations of these portraits in which the subject’s identity has been altered or even obliterated.  The clothing that covers these subjects has been changed somewhat, but maintains a degree of its original integrity. It becomes a shell of these ghosts from the past. In general, my artwork is similar to static on a radio broadcast. The radio stream is a perfectly manufactured representation of a reality. Whereas, the static that interrupts this “reality” creates an alternate and more tangible reality.

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Void, Silkscreen with flocking on inkjet, arches, 22 x 15.25 inches, 2019

"Void" was created and editioned at Wassaic Projects in Wassaic, NY, as part of their invited artists Edition Program. The idea behind the print was to create a mysterious entry or exit to be thought of as a black hole or another dimension. The work is about the existence and the intrigue of the unknown.

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Mad_7828, The Lightness of Being, 88 x 72 inches, 2019-2020



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The hands of art history #15, Printmaking, 14 x 11.25 inches, 2020

The hands of art history #22, Printmaking, 14 x 11.25 inches, 2020


2020. Ph.D Course. Kookmin University, korea 2012. M.F.A. Sungshin Women's Universty, korea 2009. B.F.A. Daegu University, korea Currently in Assistant Professor, Dept. of Fine Art, Daegu Univ.

In stories related to art, the word "hand" that appears as a landlord also figuratively meant labor for painting or sculpture. But I would like to borrow part of the faceless body from the image of art history and name it a self-portrait of art history.

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Midsummer’s eve



MFA LIU Post, May 2016 BFA Parsons School of Design, May 1987 Professional Studies: Passalaqua School of Drawing and Illustration 1987-1996

My work is inspired by landscapes. It is not renderings of specific places rather; it is a journey into the residual memories and emotions that have been imprinted on me from my experiences within those places. I have always been intrigued by the evanescence of memory. For a brief moment in time, a thought, idea, person or thing can be all consuming yet, eventually will fade away into the recess of our memory seemingly forgotten until something triggers it and once again it is brought to the surface.

My current body of work has been focused on solarplate etching and its wide range of uses. This non-toxic printmaking method is extremely versatile. All that is needed to create a solarplate is sunlight and water, no toxic chemicals or solvents required. Drawing is essential to my process regardless of the medium I am working with. As I work intuition takes over and I think through my hands. Although many times I begin with an idea or an intention, as my work progresses, I allow it to take me on a journey and I’m never certain of what the final outcome will be.ott, April 2020

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I’m at the eiffel tower, Chromogenic print



Cali Kurlan is a multi-disciplinary artist whose work includes photography, video, installation, theory, curation, digital media, and performance. Kurlan’ s work is distinctive for its contemporary interpretation of the way we make images, particularly by use of (distinct) digital devices and camera-less methods like darkroom photograms and desktop screenshots. Recently Kurlan was invited to exhibit her photographic work as a part of the curated exhibition, At the Edge of the Universe. In 2018, at her self-run gallery, #33w17, an unenterable storefront in NYC, Kurlan curated 6 solo-exhibitions, coordinating openings and music events. She was invited as a photographic theorist to participate and present in the 2nd international Photography Seminar in Lishui, China (2017) and has performed variations of her performance art series, 1 Artist in 3 Acts, at locations such as Westbeth Gallery, NYC and the Vermont Studio Center, Johnson, VT. Kurlan’ s first gallery project, (S)PACE was written about in the catalogue for her participation in the Picture Berlin Residency showcase, Ohrwurm, as “successful in the ways she was looking at the gallery as an institution and critiquing it from the inside … really spoke to her desire to question what an art space is.”

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Gap: utopia, Woodcut, 19.6 x 23.6 inches, 2019


Born in south korea, in 1985 B.F.A Oriental Painting in Chungbuk National University. M.F.A Oriental Painting in Hongik University, Korea. 

Where is my utopia? My time, my space and things existing in between. What is irreversible is not just the moment, the time, but also the point, the lost place. The space forgotten along with the time. The space exists in my memory and between lines and the memories are collected and create a new space.

Houses with triangular roofs in childhood pictures are thoughts existing between gaps and a symbol as well. They represent a utopia which is expected to exist somewhere but actually exists nowhere just like a mountain with a paradise. 

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Tape, Photograph; inkjet pigment print on fine art paper, 18 X 12 inches, edition of 10, 2020


David Stock’s recent photographs combine cultural observation with visual exploration. Anchored in the iconography of everyday city life, they emphasize emotion and precision.

Stock’s photography has been widely shown and published in the US and internationally. He is a member of the 440 Gallery in Brooklyn.

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Everybody knows 2, Marble, limestone, alabaster, 21 x 20 x 12 inches


Don Porcaro is a New York-based artist whose work explores the nature of human interaction with the physical world through archeology and man-made objects like tools and toys. His work has been exhibited nationally and internationally, and has been reviewed in The New York Times, Sculpture Magazine, Art in America, Artnews, BOMB and Newsday, among others. In 2007 he was the subject of a featured profile in Sculpture Magazine. This past year, he was commissioned by New Jersey Transit to create a sculpture for the Jersey Ave. Light Rail platform in Jersey City and in 2011 was the U.S. representative at the 50th Forma Viva International Sculpture Symposium in Portoroz, Slovenia. He been nominated for the International Sculpture Center’ s prestigious Educator of the Year Award, and is the recipient of a Teaching Excellence Award from Parsons School of Design, where he has been teaching since 1975 and is currently Professor Emeritus of Fine Arts. Porcaro received his MFA in Sculpture from Columbia University.

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Life - wave, Single channel video, 3min 5sec, 2020

Life - green, Single channel video, 15sec (cycle), 2020


Instagram ID: ttori_papa

Dongrack Son was born in 1975 in South Korea as the son of a pastor. He majored in western painting at University(1994-2001). From 1997, he began animation work and graduated from graduate school(2003-2007). His animations were screened at more than 30 animation festivals including Korea, France, Croatia, USA and Korean TV programs etc. He had 2 solo exhibitions and participated at more than 50 group exhibitions in various countries. He served as an adjunct professor at animation Dept.(2008-2015) and lectured at several university(2008-2018). He lives with his companion dog 'TTORI' and lives with thank God every day.     

Genesis 1:10 God called the dry ground "land," and the gathered waters he called "seas." And God saw that  it was good.
Genesis 1:12 The land produced vegetation: plants bearing seed according to their kinds and trees bearing  fruit with seed in it according to their kinds. And God saw that it was good.

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The right bind, Bronze, 12 x 6 x 5 inches, 2019


2018 MFA Columbia University, Printmaking Fellow at the Leroy Neiman Center 2011 BFA Bard College

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Reach, Acrylic and nails on shaped PVC, 48 x 62 inches, 2018


My current work spans the boundaries between painting and sculpture, personal expression and site-specific public art. I am a prolific artist, having produced hundreds of finished works: paintings, murals, sculpture, drawings, fountains and installations. For the past ten years I have also been making abstract, shaped paintings on wood and PVC, which I call “Shapings”.  My subjects are often abstract, but they are real, being about the forms, lines, colors, their relationships to each other and the spaces they inhabit. My art is about the feelings and intuitions transmitted to viewers when they experience them. My process is based on hard work and experimentation, research, making drawings, maquettes and color studies. Nature, art and artists from various cultures have been my inspiration.

I work using a combination of intuition and visual principles of composition to keep my art alive, fresh, spontaneous and challenging, like a living tree, with deep roots and many branches.

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 Villa of lazar, Digital photography, 13 x 8.6 inches, 2017

Luxurious and magnificent bulding, at the vicinity of the miac village Lazaropole, on the mountain Bistra. It is the villa of the last communist Yugoslav ruler(Lazar Kolishevski) of Macedonia, as part of Socialist Yugoslavia. Bulding, where the ruler rarely came, and when he did, it was by helicopter. Buliding which front door was made of solid walnut, luxurious and attractive. The door was hiding all the magic of the obscene and luxurious interior and all physical hedonism(not familial with the spiritual ones). Unreal interior for the common mortals, things without any reality contact. Mysticism, often present in common people conversation. The socialism had fallen, and the ruler had fallen too. Someone opened the door by force. During the winter it is a horse's residence.

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Look, over the wall, Wood, GFRC, wire, 2020


Born in Skopje, Macedonia, 1967. Lives and works in New York City, USA. After graduating from the Fine Arts Academy in Skopje, he received MFA at the Fulbright School of Arts and Science at the UA. His work has been shown in numerous one man and group shows in the USA and Europe. His sculptures are part of permanent institutional and private collections in the USA, Australia, Europe, Japan, China and his native Macedonia.

I recent note-wordy large scale white marble monumental sculpture was installed at the Commercial Bank in Skopje and, limestone sculpture at the Forma Viva Sculpture Symposium. In large or small scale works, Gorazd Poposki maintains the influence of the spontaneous in his creative process as another way of investing the works with a natural authenticity. Sketching directly on the marble in preparation, the artist has described his sculpting process as “action drawing- carving”, where the instantaneous touch gives way to multiplicitous and fresh invention. 
The melding of disciplines refutes an easy reading of style, method or even origin. Flattened impressions create depth and detail through the application of hundreds of compressed small marks, contrasting textures, various states of polish and painterly shadowing.

Gorazd Poposki is the founder and director of Gallery MC, a non-profit multicultural interdisciplinary art gallery committed to the research, production, presentation and interpretation of contemporary art. The gallery supports established and emerging artists and explores ideas at the junction of arts, performance, and architecture.

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 Trellis after a Rain, Oil on canvas, 48 x 53 inches, 2020

Henry Finkelstein studied at the Cooper Union with Rueben Kadish and Nicolas Marsicano and at the Yale School of Art with Lester Johnson. 

In 1983 he received a Fulbright Fellowship for Painting in Italy. 
He currently teaches Painting and Drawing at the Art Students League of NY and the New York School of the Arts. He has also taught at the National Academy of Design, the New York Studio School, the Washington DC Studio School, the Hartford Art School and Pratt Institute.

This painting was done in a part of Brittany, France where I have been going for the last 18 years. I like the light there, its softness and the way the moisture in the air makes things seem to glow from within. I often paint on gray days. It rains a lot in Brittany. After a rain colors become more intense, edges can disappear and reappear. This was one of those instances. I also enjoy working from motifs where there is a consideration for the land combined with some degree of disarray. Here, in the garden of some friends of mine I loved their trellis of roses flanked by a small peach tree and the general swirl of vegetation, atmosphere and architecture.

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A cat accident, Hologram image + Mixed media, 7.5 x 9.5 x 1 inches, 2020



Born in South Korea in 1960. 
1984 BFA, Hong-Ik University in Seoul, Korea 1991 MA, NYU (New York University) His works have been exhibited in New York including ‘OK Harris Works of Art’ (383 West Broadway) in the year 2000, as well as in Korea, Japan, UK. Iksong received British Council Grant in 1996-97 and studied at Northumbria University, Newcastle, UK for the Post Doc. Fellow. Present : Professor in Fine Arts Dept. at Chungbuk National University in S. Korea.

Last winter, I bought some special bottles and other objects at an antique store in Monticello, upstate  New York, and I added hologram technology to complete for new works.
The purchased bottles are containers manufactured by CLOROX detergent company, which metaphors the global environment that is contaminated by human convenience and desire.
Last February, I was move the bottles and other objects to my studio in Korea, completing a total of 11 works during March, April and May when the whole world suffered from the Corona Virus 19.

These completed works will be moved again to New York and will be exhibited at Gallery MC, NY from July 14 to July 25 this year.

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 Sweet things are made of these, Archival pigment print, 36 x 24 inches



Jasna Bogdanovska is a multimedia artist, educator, lecturer and explorer of different cultures.
Born in Skopje, Macedonia, Bogdanovska received her BFA in Photographic Illustration and MFA in Fine Art Photography from Rochester Institute of Technology in Rochester, NY. 

Bogdanovska’s artwork explores issues of femininity, culture, migration, duality, identity and heritage using various mediums such as photography, installation and video. Her project Between Near and Far explores migration and duality following the Mid Atlantic Ridge. She is widely exhibited internationally in solo and group exhibitions including Macedonia, Iceland, Croatia, Bosnia, Canada and the US.
As an educator, Jasna Bogdanovska has taught classes in Iceland and has created international collaborations for her students with students in Taiwan, Brazil and  Canada. She has also given lectures at various conferences, workshops and universities around the world. 

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Vas, Wood, paint, cast paint, 17 ½ x 16 x 11 ¾ inches, 2019


This work is from a second series of sculptures in walnut. 
They describe a tableau/landscape populated with different kinds structures.  
These structures are truss forms, color harmonies and scale relationships.

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Unweighted gapI, Oil on canvas, 15×11 inches, 2020

Unweighted gapⅡ, Oil on canvas, 10×6.2 inches, 2020


Born in South Korea 1969. Majored in Fine Art at Cheong-ju University. 1988-1993. She had two times private exhibition at Seoul and Sejong city. Also participate many group exhibition at Seoul, Anyang, Changwon, Cheong-ju, Macedonia, New York.

I live in Sejong city in S. Korea and working on group EXIT, Deolsum Nalsum. Womman’ s Art lnstitute in Chungcheong Province, Shema Art Forum.

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Repeated everyday, Mixed media, 2020


2012 M.F.A. Graduate School of Media Arts. Majored in Painting, Cheong-ju University 2009 B.F.A  Dept. of Fine art, Cheong-ju University, S. Korea

How do I look while standing on the boundary between truth and illusion, and the line dividing me and myself? The artist releases diverse stories about the theme of 'dailiness' by showing 'daily life' of herself or others through works. As its start, the acrylic cube work expressed the look of ourselves who are locked up or try to get out of the frame/rules created by humans. After that, 'Artist' and 'Others' expressed the look of the artist herself and others in daily life through plant and shadow(plant=me(artist), shadow=another myself(artist)), instead of the image directly shown.

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Tower, Collected LED signboards, sound response module, mir·roracrylic, (Tower) 36 x 150 x 36 inches and Installation View, 2019


2011  B.F.A. College of Fine Art, ChungNam National University, Daejeon, S.Korea

My work begins with the indiscriminate ‘pity for things to be thrown away’ in the modern world where I live because of the speed of consumption. My work to change the perception of the "usefulness" of things judged to be "useless" once again raises questions about many things that were considered too natural.
<Tower> was used to recreate the abandoned LED signboard in the form of an ad tower. and It is configured to respond from outside sounds. It takes the form of an ad tower but shows a different consumption structure than the way it used by removing the information transfer function that the signboard has.

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Repeat, Graphite on paper, 25 x 25 inches, 2016


b. 1981, The Netherlands lives and works in Brooklyn, NY

The School of the Art Institute of Chicago Masters of Fine Art, Performance Art / Sculpture, 2009
University of California, Santa Barbara Bachelor of Fine Art, Art Studio, Painting (Honors), 2005 

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 Split, 2018 

New York Studio School 1969-1971
San Fransisco Art Institute 1974

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Infinity or the end-6, Mother-of-pearl, eggshell, ottchil on woodpanel canvas, 7.9 × 11.8 inches, 2019


B.F.A Ottchil Art, Paichai University of Korea, 2005. M.F.A, Ottchil Art, Graduate school of Ottchil Art, Paichai University of Korea, 2009. M.F.A Western painting, Graduate school of Fine Art, Chungbuk National University of Korea, 2015. Preparing for doctorate degree of western painting in Dankook University of Korea, 2019. 

The line that we already knew had a start and the end. There was no same line to me. They are different lines, the line was made by holding my breath, the line attached by every single Mother-of-Pearl, the line attached by piece of eggshell, all lines are repeated but each line is not same. I don't want to say the drawing action of lines. The start or the end of different Objet lines should be seen infinity on the screen. This is extremely special lines to me.

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My favorite things, Oil and ink on canvas, 64 x 32 inches, 2018



Mensur Bojda(b.Brod, serbia 1986)is an artist currently based in New York. He studied at the Academy of Fine Arts in Belgrade, Serbia. He Finished his masters degree at the same Academy in 2015. He has participated in numerous shows in the U.S.and Europe. Mensur recent exhibitions include "My Favorit Things" Gallery Gral Skopje, N.Macedonia, "My Favorite Things" Gallery MC, New York, "Remade" paintings at SleepCenter Gallery, New York, "The Painters Lesson" exhibiton of paintings at Gallery MC, New York, "Daughters of Troy" art fair at Governors Island, New York, "sever paintings" show at Gallery KIC, Skopje-Macedonia and others. Mensur is a figurative expressionist and his interest reach in various disciplines such: painting, drawing, printmaking, sculpture, illustration and comics. 
The works are inspired by the functionality as well as the craftsmanship that goes into making of a piano which creates variety of emotions, messages and ideas from simple set of rules assigned to black and white keys. John Coltrane has famously said that the main thing a musician would like to do is give a picture to the listener of the many wonderful things that he knows of and senses in the universe. Coltrane was a master of experimenting new form of jass. Experimenting outside of harmonic structure, sometimes ignoring beat and even a notion of solo. His style called "free jazz" celebrated freedom from rules and structures. Freedom form what is accepted or expected as well as freedom to imagine.

Although the works have sculptural qualities to them, the artists insists on calling them as paintings, forcing us to see them as pictures. On the contrary to Coltrane's comment on providing a picture to the listen, Bojda's works would give a sound to the viewer of whatever they would like to hear or imagine hearing. Activating the gallery as a stage, Bojda's carefully constructed paintings and drawings of pianos key are invitations for the viewers to play.

- Ryota Sato 

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From balancing series, 2019
From balancing act series (1), 2019

Starr is a full time professor of visual arts at SUNY Suffolk County Community College and is a regional coordinator for the FATE organization. She is the recipient of the FATE Emerging Educator Award and the Open SUNY Online Educator Award. Her drawings have been published in Space Out: Memory and Tool Book. She is a member of the Wayfarers Gallery in Bushwick, Brooklyn and has shown internationally in cities such as the Hague, Hong Kong, and Seoul, and nationally in Chicago, DC, Pasadena, and New York.

The artworks that comprise Balancing Act are site specific installations with found objects at the beach. What began as a collaboration with her family, became a representation of the artist’s identity. The balancing of the delicate objects reflects the artist’ s flexible assemblage of self as mother, wife, academic, artist. The installations also incorporate collected plastic debris at the beach, raising awareness about plastics in the ocean and the impact on the ocean, beaches, and future generations. As we find ourselves quarantined in 2020 these artworks ask the question, how will we exit the year? Will be more conscious of ourselves and our impact on the planet?

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Summon memory summer-crape myrtle, Pigment liner on canvas, 18 × 20.8 inches, 2020


Private exhibition 9times
Group exhibition 2007  The 26th Grand Art Exhibition of Korea

          (division: Non-Representational Paintings) outstanding achievement 2006~2018  Art Choengju Exhibition, Choeng ju. 2016~2019  EXIT : Satellite  MC Gallery, New York, USA.

          The Ninth Door, MC Gallery, New York, USA. etc. 
Ph.D. Assistant Professor Dept. of Elementary Education Korea  National University of Education, Republic of Korea. 

With thin lips and clear eyes, in summer she lay me on her knees. Every time she shakes her head, her smile falls over my face and it's sweet. Just memory, and memory. A summon of my memories that I miss her.

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Disorder2-3, Acrylic on canvas, 39.4 x 39.4 inches frame, 2020



M.A.Ed, Chungbuk National University, Cheongju, S. Korea 2012 B.F.A, Chungbuk National University, Cheonju, S. Korea

There are many frames in life. These frames are formed on the basis of age, gender, rank, and status. The lack of understanding these frames tend to cause prejudices and damaged self images. It is very likely that we are bound by pre-established frames consciously or unconsciously.
‘Disorder2-3’ expresses our recognition of the surrounding prevalent frames(rules) and our egos' revolt against them.

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Untitled, Oil and thread on linen, 48 x 72 inches

Born in Assam, Natasha is a cross disciplinary artist working from her studios in Assam and New York. She works with oil paint and thread, layering the individuality of each material to build a surface where the two work inextricably.

Applying a deep understanding of pigment from her rigorous training in Florence, with an intuitive exploration of thread guided by master craftsmen in Assam, her materials and process mirror her personal journey as an artist. Through careful repetitive movements, she coaxes out the innate character of each medium, contrasting the confidence of oil with the submission of thread. These process-based works can often seem erratic or random, especially considering the rough application of the paint and the capricious nature of the thread patterns, but each work does feel intuitive to me, or at least the process of creating one certainly does. I know when to scrape paint off the canvas. I know how long the oil can sit on the surface of the linen. I know where the thread should go right as I pierce the surface of the canvas. It's almost like I hit a certain rhythm when I'm making these works. I know I'm done when I've exhausted the canvas. Natasha’s work lies at an intersection of materials and methods, blurring the lines between approach and content.

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Untitled, Acrylic on canvas, 30 x 40 inches


Predrag Dimitrijevic was born in Serbia, where his art education began.  Upon arriving in the United States in 1984 he studied at Cleveland Institute of Art and Yale University School of Art.


 He is primarily a painter, who also makes prints and sculpture. He has shown his work nationally and internationally. Predrag is employed by Metropolitan Museum of Art in the Department of Photographs.  He has lived and worked in New York City since 1992.

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German landscaping, Oil on canvas, 18 x 24 inches, 2019

Born in Stumica, Macedonia in 1959, Robert Dandarov currently lives and works in Brooklyn, New York. He studied at the School of Applied in Skopje, American Academy of Art in Chicago and Professor of painting at the Altos de Chavon School of Design, which is affiliated with Parsons School of Design in New York.

Throughout the 1980's he participated in numerous solo and group exhibition in the U.S. and Europe. Dandarov's recent exhibitions include Paintings, Drawings & Two Etching at the National Gallery of Macedonia; New Works at the Museum of Contempory Art in Skopje, Macedonia; Painting at Gallery MC, New York; Criss Cross exhibition at Monastery at Pio della Misericordia in Naples, Italy.

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Angel, Cardboard, acrylic, collage, 15.7 x 11.8 x 3.9 inches, 2016

Born in Costa Rica in 1951, Roberto Lizano is a master of contemporary plastic arts.

Throughout his prolific career, Roberto has made drawings, paintings, sculpture and mixed-media works. Before being a full-time artist, he was trained and worked as a civil engineer. Since 1980 Roberto has exhibited in museums and galleries around the world. A persistent theme in his work has been recyclable materials. 

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Brown betty, Epoxy dynel fiberglass, 15 x 9 1/2 x 4 inches, 2020

Graduated from the Tyler School of Art with a BFA in printmaking. I printed professionally limited editions as owner and director of Chiron Press in the early 70’s.

I found my way through printmaking to painting and then to sculpture. My work is primarily figurative, but it is a figuration that is informed by abstraction. I have exhibited some in group shows and once at the Whitney Museum. The most recent exhibitions have been in Canada and in Brooklyn where I reside.

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Family of Dragonflies, Mixed media, 36 x 36 inches, 2016

We R Family, Mixed media, 36 x 36 inches, 2016



Seung Lee’s paintings, drawings, and large-scale installations have been exhibited extensively in the US as well as internationally; China, Italy, France, Japan, Germany and Korea.

He has received numerous reviews in the New York Times, Newsday, Radio Interview with RTHK (HONG KONG), Kyoto Times, Korea Daily News, Busan Daily, Art Word magazine, Art Price magazine, Art in Culture magazine, Art Price magazine, Art and People magazine, and selected for Woori Bank of Korea’s 2018 VIP Calendar.
Seung Lee received many awards; New York State Governor, Nassau County Supervisor, Suffolk county Supervisor, New Jersey City Mayor, and in 2011, Seung was awarded as “Best International Korean Artist” from Korean Art Association.

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Time and Timeless #07, Archival Pigment Print, 23.6 x 18.9 inches, 2020

Time and timeless #05,   Archival pigment print, 23.6 x 18.9 inches, 2020


2020 ‘Time and Timeless’_the 6th Solo Exhibition, Yeil Gallery, Cheongju 2020 Post Photography Exhibition, Gallery Index, Seoul 2019 'New Dialogue' Contemporary Art Exhibition of Korea & France, Gallery 89, Paris 2019 Satelite_ Exit 2019, Gallery MC, New York 2019 Post Photography Exhibition, Gallery Index, Seoul 2018 Exit 2018 'The 9th Door', Gallery MC, New York 2017 EXIT 2017 'A montage of identities', Gallery MC, New York 2017 After Hecho, Cultural Communication Exhibition of Korea & India Contemporary Art        Kccindia Gallery. New Delhi 2016 International Contemporary Arts Exhibition, Chungmu arts center, Seoul

Time is what chances and orders are woven to a net, A net which a soul sieves through, irradiating the weight of what is lost and grieved. 

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Atlas V, Type C Chromogenic print, 45.4 x 29.6 inches, 2020

Atlas VI, Type C Chromogenic print, 45.4 x 29.6 inches, 2020


Simone Douglas is an Australian-American artist who lives and works in NYC. She works across photography, video, sculpture, and site specific installations. Her work considers the sublimity of landscape. Her current and ongoing work IceBoat culminates in a monumental piece that melts into the desert soil, triggering a shadow-bloom of red flowers. Whether salt lakes or submerged river beds, aerial icescapes or celestial reflections, the elemental landscapes in Douglas’ works are constantly shifting and yet impart a sense of geographic time. Together they ask how we might hold responsibility across past, present and future in an age of environmental change.

Douglas’ works have been collected by and exhibited at major institutions including: the Victoria & Albert Museum (London), the Art Gallery of NSW (Sydney),Jane Lombard Gallery NYC, the Photographers Gallery (London), the Museum of Contemporary Art (Sydney), the Australian Centre for Photography, Sydney.

er work has been featured in contemporary anthologies and publications including, Art Forum, Conveyor, Blind Spot, Photofile, Art + Australia, Creative Camera and (not only) black + white. She is coeditor (with Sean Lowry) of Anywhere and co-curator of Anywhere and Elsewhere conferences.
In addition to her artistic practice, preceding her conferral of Professorship, Douglas Directed the MFA Fine Arts Program at Parsons, New York.  She curated for the Getty Conservation Institute and the Australian Museum, the Pingyao International Photography Festival , and the Auckland Festival of Photography.

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Only something this small can be everywhere 2, Colored pencil drawing, 16.1 х 39.3 x 1.1 inches, 2019 



Slavica Janešlieva (b.1973) is a visual artist with characteristic multimedia and inermedial expression.  Janešlieva specialized in graphic art/printmaking,  but she shows her recognizable artistic expression and talent for visual narration in various mediums: print, object, art installation, drawing, photography, video, book art etc. Her works are part of numerous juried and curated national and international exhibitions all over the world (27 solo exhibitions and over 250 group exhibitions). She has been awarded a number of international and national awards and honors, and her works are part of important institutional art collections in Republic of North Macedonia and abroad. She lives and works in Skopje, and is a full professor at the Printmaking Department, Faculty of Fine Arts, Ss. Cyril and Methodius University.

During the past year moving around the city has actually been active observation: noticing, searching, finding, photographing, collecting, and preserving small things that, strangely enough, always had something to do with something intimate: a memory, a story or an experience. If I generalize, then I would say that I “speak” of what we have experienced, of what we feel strongly, but describe with difficulty. Whether this is deliberately or unintentionally caused, by whom, what and how is irrelevant.

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The garden of s, Installation view, 2019, Colored pencil drawing, 16.1 х 39.3 x 1.1 inches, 2019


Soongu Han received her B.A. and M.A. in the Department of Painting in the College of Art at Cheonju University. Her major exhibitions include her 5th solo Exhibition "The Garden of s"(soopsok Gallery, cheongju, 2019) and a number of group exhibitions. 

Han's work contrasts this approach to minimalism in various ways. While Han's shares a few of the characteristics of the minimalist approach such as using monochrome shades or having nonrepresentational features, the most noticeable contrast is that her minimalist artwork is de-centric rather than centric. 
De-centrism refers to a series of trend in which those that have been oppressed by the exclusivity return to the artistic scene.

As such, the return of the tactile sensation against the optic, the return of nature which had been oppressed by reason, and the return of the body can all be associated with Han's work. But I will mainly focus on a single aspect: if minimalist art is optic, Han's objects are haptic. Her sculpted work which was made by kneading the wet plaster bandage brings out the sense of touch and the minute traces of her hands left on her sculpture draws the audience closer to her artwork. This is probably possible because she was able to substitute the absolute power of the optic with the sentimental softness of the tactile qualities.
- Kihong Aum (Art Writer) -

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Circus, Oil on canvas, 30 x 40 inches, 2015


Born 1952, Omaha, Nebraska Paints out of studios in Nebraska, Maine and Florida Private and public collections

"When you get it right, a painting has something of the sublime. A vitality that is a marriage of color and light, mystery and joy, longing and beauty.” "I strive to have a painting provide pleasure, mystery and a feeling of uplifted-ness. For me painting means being always on the lookout for an image/idea that excites. Sounds straight forward but it's nothing like a straight line. So many things count: the creamy light of late afternoon on landscape; the abstract beauty of marks on the side of a train car; new snow that reshapes all it touches; an interior filled with color and reverie; the riveting beauty of a vase of flowers; a fly fisherman in shadow; a disregarded corner of town; a found image... I try to make a painting that has in it something of the magic and mystery of the thing; the alchemy; the thing that excites.”

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Mystery, Archival pigment print on paper, series of 12, signed and numbered, 24 x 24 inches, 2016 Collection of Godwin- Ternbach Museum, New York

Balogh, was born István Vilmos Balogh in Hungary, Europe. At the age of 20 he was drafted for mandatory service in the Hungarian Air Force. This precipitated his deep involvement with art, for starting at the age of 21 he began making artworks that reflected his military service, deadly plane and parachute accidents, and the fear and brutality he witnessed in Soviet-occupied Hungary. In 1986, he fled Hungary, only to be interned for7months in an Austrian refugee camp. After he was granted political asylum to the United States, he moved to New York City, arriving with a suitcase and $300, and became a US citizen in 1995. He has had 19solo shows; the first one in 1980 in Budapest. Recently he had three solo shows in New York City. 

“Balogh likens the motive and method for his works as spiritual and technical interpretations, palimpsest and remixed. The repurposing of both materials and substance found in the Ballet series is present as well in Mystery (Godwin-Ternbach Museum Collection). So seamless is this composition of disparate, layered images that one is led to believe it is a montage of images skillfully placed together. But it is not. It is a single image of trees and unidentifiable elements of a memory, an image of spectral beauty, it is greater than its parts. In its tondo form it suggests a globe filled with colorful and integrated but unfathomable parts.” -Dr. Amy Winter PhD, Curator, Advisory Board member at Godwin-Ternbach Museum, New York.

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The Floral Series continues to evolve The Collection is an examination of the human affair with botany, industry, and design. The series spans the past twenty years of my fine arts photography career — it references the art of historical botanical illustration. My fascination is devoted to the plants themselves. Each backlit specimen patiently surrenders its beauty and details, creating a two - dimensional illuminated study.

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Through the Looking GLASS-Time in COVID-19, Acrylic on canvas 29 X 24 inches, 2020


Born in CheongJu, South Korea. she received M.B.A from the department of culture and art management from Hoingik University, she graduated at department of fine art from Chungbuk National University, she receives M.F.A from the department of fine art from Chungbuk National University. At the Faculty of product design, she received an award for best student. In 2007 she became a member of the Korea Fine Arts, and Cheongju Fine Arts. In 2012 she is one of the founders of the artist group EXIT. Her had solo exhibitions in South Korea, New York, Japan and China, Macedonia.

In a mirror everything is the opposite. In the kingdom ruled by the Red Queen, the object moves each time and the surrounding world moves accordingly. Alice said, "Now in our world, if you've been running fast for a long time, you usually get somewhere." The Red Queen said, "You see, you have to run your best to stay here. If you want to go somewhere, you have to run at least twice fast”.

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Taken care(Gentle Hands #2), Colored pencil and batik wax on dyed and bleached muslin, 44 x 80 inches, 2020

Susanna Koetter (b.1991) is a painter and printmaker from Boston, MA. She recently graduated from Columbia University’s MFA program in printmaking. Prior to Columbia, Susanna lived in Providence, RI; and prior to that, she studied at Yale University, where she received her BA in painting. Susanna has been recently published in the Leslie Lohman Museum’s  The Archive: Intersectionality (Issue no. 68) and Bat City Review (Issue 16). More than occasionally, she also writes. 

Taken Care is based off of a plastic wrapper for latex gloves albeit at a much larger scale. The image itself was rendered through a combination of fabric dyes and batik wax resist, which is also used to reinforce and sear in waxy colored pencils, perhaps akin to a fresco. Aside from the product advertised (yellow gloves), the image also echoes the form of an inverted prayer; communicating, perhaps, the paradox of care, and the protection which tenderness requires. 

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Dark side of the moon. 13, Acrylic paint, collage, wood burner on plexiglass, 39 x 72 inches, 2016-2019


Tomas Vu(B.1963) is an American artist whose primary media are painting, printmaking, and installation art. He was born in 1963 in Saigon, Vietnam and moved to El Paso, Texas at the age of ten.

He received his BFA from the University of Texas at El Paso in 1987, and his MFA from Yale University in 1990. Awards: Guggenheim Fellowship for Creative Arts, US & Canada Present: Professor at Columbia University School of the Arts, NY

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Looking inside, Collagraph, 8.3 x 7.9 inches each, 2019


Ph. D. Majored in  elementary school of art, Korea National University of Education M.F.A. Majored in elementary school of art, Cheongju National University of Education B.F.A. Majored in Western painting, Chungbuk National University

I look into my desire through a medium called a chair. With sitting in a chair, I usually feel diverse emotions such as restfulness, discomfort, anxiety and pain. The process of sitting on a chair to think allows me to produce new creation and to gaze at me newly. Such reason leads to having interpreted and expressed a chair with various meanings.

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On the pictorial spectrum, Drawing on the wall, 31.4 × 39.3 inches, 2018

On the pictorial spectrum, Oil painting on the wall, 39.3 × 31.4 inches, 2019


In the early days, I captured a short moment of exercise and combined shocking time and consciousness problems with pictorial peculiarities. While feeling skeptical about the practice of combining images with time, I am looking for ways to lift the pictorial limits through painting and to explore “painting-that-self ”. Recently, I am immersed in the physical and sociological scenes of information and time through a series of scenes buried in the phenomenology of the experience of oblivious memories and oblivion.

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Piercing through my body, Mixed media, 31 x 17 inches, 2019


Yushan Liu received a BA from Tsinghua University in Beijing, China in 2011, currently is an MFA candidate at Columbia University, New York City. Yushan had been shown in Zhuzhong Museum, Beijing (2018), Ying Space, Beijing (2016), The Museum of Fine Arts, Boston (2015), Tufts University, Boston(2015), Tsinghua University Art Museum, Beijing(2015), Unity Art Museum GAFA, Guangzhou (2012). Collections include Zhuzhong Art museum (2017), CHAO Art Center (2017), Inside-out Art Museum (2015), National Grand Theater of China (2012). 

To make every piece of my work is like having a love affair. Art making process to me are very intimate moments. I try to use color and reflective/translucent materials to create light effects and the motions of the body, to visualize the sensuality, tenderness, and venerability in the subject. I also try to transform and shifting meanings of the bodies from different medium forms, explore a new aesthetic to bridge the languages between painting, printmaking, and sculpture. 

©2020 by 2020.

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