호리아트스페이스와 함께한 작가를 소개합니다.

필립 그뢰징어 (1972-)

With all of its simultaneously playful, witty, but also melancholic and gloomy elements,

Grözinger not only conveys that the world can no longer be oriented towards a fundamental order,

but insists that the existence of such order has always been a mere fantasy. 

尹棅洛, 윤병락 (1968-)

The artist defines apple as "a word found in the dictionary of nature." 

Through the medium, he talks of the beautiful image of vitality that is relatable to anyone. 

Just as the words of an art critic Seo Seong Rok who commented, “Through seeing Yoon Byung Rock’s paintings,

we finally came to realize how amazing that common fruit is, and what splendid world we’re living in,” 

Yoon’s apples seem to possess an irresistible spell. 

閔丙勳, 민병훈 (1969-)

Director Min's works are based on the objective record through a camera’s lens; the raw pieces of the 'compressed image'

that transcend time and space displayed on the monitor. Also, he attempted unconventional variations and extensions of

documentary grammar in his own way and make his own 'poetic film'.

邊雄必, 변웅필 (1970-)

The artist has practiced the painting style of having a clear message but delivering it in the utmost restraint,

for he wishes for his works to be interpreted without boundaries, by each viewer according to his/her own convictions.

松泌, 송 필 (1970-)

The biggest charm of SongFeel’s works is his sincerity. 

There is no fictitiousness in any of the theme or the production process. 

His state of mind is to contemplate the cycle of life with faith in its infiniteness.

데이비드 레만 (1987-)

David Lehmann touches on a wide range of topics related to human subjects - particularly combining 

the events and phenomena occurring in present days with scenes from history or ancient Greek myths – in 

pungent yet humorous manner. 

On top of that, Lehmann spontaneously expresses impressions or inspirations received 

from other forms of art namely literature, film, and music.

尹鍾錫, 윤종석 (1970-)

“I record my memories as if I were collecting things that come into my sight while looking around. 

Through their accumulation, I shall be able to see tomorrow’s today through yesterday’s today.” 

安昌鴻, 안창홍 (1953-)

Ahn is setting the example of dismissing the stagnant and opening new paths. 

At first, they seem a bit confusing and chaotic, but with time, we learn hardly any of his suggestions were wrong.

金南杓, 김남표 (1970-)

Through his activities at “Group Mak (2000-2005)” Kim’s attempt to expand his way of expression 

at the National Theater of Korea, the Seoul Arts Center’s Towol Theater, and Anyang Stone and Water Gallery 

has created the current working format that is not tied to a fixed framework.

趙英男, 조영남 (1945-)

Cho’s career of having been a pop singer despite majoring in the most traditional field of vocal music 

resembles his identity as a painter who advocates “Pop art with Korean sentiment”. 

However, behind his achievements, there must have been an endeavor to cultivate 

his own originality in admiration toward “the brilliance of Lee Sang”.

朴崍賢, 박래현 (1926-1976)

She studied the technique of simultaneous multicolor printing on copperplate prints, 

which became popular back then. After mastering printmaking techniques, Park showed her interest in the 

formativeness of negative space by cutting copperplates into the various shapes.

金煥基, 김환기 (1913-1974)

In the 1960s in the New York period, he intensified a more universal and inner lyrical world 

with basic formative elements such as dot, lines, and planes. 

李禹煥, 이우환 (1936- )

Lee himself functions as an energy or medium in given spaces or situations, 

searching for moments of tension and equilibrium within a certain space and time.

權鎭圭, 권진규 (1922-1973)

Kwon used distinctive mediums of terracotta and dry coating, establishing 

the notion of 'Korean realism' through his figurative sculptures.