Price
₩400,000
Art protects art
8 out of 10
artists are shut out by banks
354
loans extended to fellow artists
95%
repayment rate — trust comes full circle
~KRW 140M
interest saved vs. predatory rates
Until the next exhibition, the next performance. For artists, income gaps are an unavoidable reality. For fellow artists forced into predatory loans just to afford paint, canvas, and studio rent, proceeds from this artwork become the Seed Fund — extending a fair hand at fair rates.
Voices of fellow artists
“The memory of going hungry for three days, alone, so my children wouldn't know.”
— 50s, theater artist
“I've been putting off urgent dental treatment because I can't afford it. I should be seeing a doctor regularly, but enduring instead of going has become a habit.”
— 50s, actor
“I kept delaying ear treatment because I had no money, and the symptoms in both ears worsened.”
— 30s, musician
“I couldn't pay my hospitalized mother's bills, so we had to delay her discharge, and she had to give up tests and treatment she needed.”
— 50s, actor/broadcaster
“Because of money troubles I had nowhere to go — drifting between gosiwon rooms and rehearsal studios, and for a while sleeping rough.”
— 30s, musician
“Because of unpaid rent, my collective was forced to vacate our shared workspace and home. Neither bank loans nor artist loans could help.”
— 50s, actor
“Without money, life collapses — and creating art? Out of the question.”
— 50s, artist
“It's painful that solving this month's money problems has to come before the work itself. As an artist, I can only earn well when the work succeeds — yet I have to chase odd jobs every month instead. It feels like being trapped in a vicious cycle.”
— 40s, musician
“Debt collection calls disrupted my rehearsals and performances, and the psychological burden made every day painful and the next day frightening.”
— 40s, theater artist
“Many times the loan payments looming each month forced me to step away from performing and focus on part-time work.”
— 50s, actor
“Sleeping less than four hours a night, juggling part-time jobs and theater — but the more I performed, the more debt piled up. Eventually I decided to quit performing.”
— 30s, actor
“When things were hardest, I couldn't even attend close friends' weddings or funerals — and as a result, relationships were severed.”
— 50s, actor/broadcaster
“When I said I was a stage actor, the loan officer called me "unemployed."”
— 50s, actor
“The shame and severed friendships that came with borrowing from people I knew, the pressure of failing to pay it back, the helplessness.”
— 50s, cartoonist/visual artist
“Even with programs meant for low-income citizens, I feel shame when I can't produce enough documentation simply because I'm an artist.”
— 30s, film/broadcasting professional
95 artworks sold, each becoming a seed of solidarity
One artwork becomes the oxygen that keeps a fellow artist creating.
Sales proceeds go to the artist mutual-aid fund.
Grandmother Weeding the Bean Field 2
Lee Yunyeop
About the Artist
Lee Yunyeop depicts farmers, laborers, and humble everyday objects with wit, using bold lines on white space to skillfully capture the rough yet endearing character of woodblock printing. For him, woodblock printing is a medium that engages his body through carving wood and handling tools, serving as a method to create empathy among people who understand labor or to foster understanding of the value of labor itself. Lee Yunyeop used rubber sheeting—the kind laid on factory floors—carved with engraving tools. Mr. Choi of Sandraemi (1996) was his first print work, depicting a neighboring farmer who lived near his home at the time. After this first work, the artist committed to printmaking as his primary medium, and notably called himself a 'dispatched artist,' creating prints alongside workers at strike sites and protest scenes, revealing his activist dimension as an artist.
About this work
〈Grandmother Weeding the Bean Field 2〉 is a Printmaking work by Lee Yunyeop. Created in 2009 on 다색목판 60장 중에서, measuring 25x32.5cm. Available as an original Korean contemporary artwork at SAF Online.
Key Career Highlights
2025 Cut Sentences, Open Square (Democratization Memorial Hall) 2024 Solo Exhibition: Even If It Takes a Little Time (Dongducheon Ecological Peace Museum The Dream) 2020 Print, Print, Print (MMCA) 2019 Square: Art and Society (MMCA) 2017 Between Floors (MMCA Gwacheon) 2015 Gwangju Biennale 20th Anniversary Special Exhibition (Gwangju Museum of Art) 16 Solo Exhibitions and numerous group exhibitions 2012 Koo Bohnchang Art Award Collections: MMCA, Gyeonggi Museum of Modern Art, Sakima Art Museum (Japan), Fukuoka Asian Art Museum (Japan) Publications: 'I Am a Farmer', 'Even If It Takes a Little Time', etc.
Related materials
Korean media · Original Korean article
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Google Arts & Culture · Original Korean article
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Korean media · Original Korean article
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Korean media · Original Korean article
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Kyunghyang Shinmun · Original Korean article
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Korean media · Original Korean article
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Korean media · Original Korean article
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Brunch · Original Korean article
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woodplanet · Original Korean article
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Korean media · Original Korean article
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Korean media · Original Korean article
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Magazine

Korean Contemporary Printmaking — Five Lineages at SAF
Contemporary Korean printmaking, read through five artists at SAF 2026 — from Lee Cheolsu's woodblock Zen to Kim Jonghwan's broken-printer sculptures.
2026-04-20
Lee Yunyeop: People Carved into Wooden Blocks
Lee Yun Yeop calls himself a "dispatched artist" — woodblock work that followed struggles from Pyeongtaek to Yongsan to Miryang. Thick lines, wide white space, the people.
2026-04-08







