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₩5,000,000

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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

68 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.

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Green Feet

Ryu Junhwa

Authenticity

One-of-a-kind original

What "edition" means →
CategoryPaintingMaterial캔버스위에 아크릴, 콘테, 석회 Size72.7×60.6cm · Size 20 · Medium How big is this? →Year2015Price₩5,000,000

About the Artist

Ryu Junhwa has been at the forefront of Korean feminist art from the 1990s to the present, deconstructing women's roles as defined by patriarchal society and visualizing the hidden layers of oppression within them. Her artistic practice does not merely depict women but aims to challenge social taboos and subvert male-centered visual systems through powerful artistic interventions. In her early work, she brought to canvas the reality of women victimized by social violence such as sexual assault and prostitution, sounding an urgent alarm to society. Notably, by focusing not on the act of 'selling' but on the act of 'buying' in the Korean term maechun (prostitution), she emphasized the responsibility of men who purchase sex, demonstrating sharp insight in overturning dominant assumptions through language and imagery. She also employed popular objects such as Barbie dolls, photographs, and installation works to critique the double standard that modern society imposes on women—simultaneously demanding them to be 'chaste wives' and 'sexual objects.' She appropriated the conventionally male prerogative of the 'observing gaze,' replacing men as subjects of observation, or depicted the violence hidden behind the term jipsaram ('housewife,' literally 'house person'), which erases the individuality of married women, through ghostly figures. Her activism extended beyond individual creation into a collective voice through the feminist artist group 'Ipgim' (Breath). The attempt to reinterpret Jongmyo, a patriarchal symbolic space, as Abanggung (a palace of beauty and audacity, a play on the word for 'uterus') stands as one of the most iconic and resistant events in the history of Korean feminist art. In recent years, she has focused on reexamining mythological figures such as Princess Bari and historical women independence activists, working to restore women's narratives that had been obscured by patriarchal historiography. In this way, Ryu Junhwa's practice has evolved from exposing past wounds to excavating forgotten women's histories and constructing new forms of female subjectivity.

About this work

〈Green Feet〉 is a Painting work by Ryu Junhwa. Created in 2015 on 캔버스위에 아크릴, 콘테, 석회, measuring 72.7x60.6cm. Available as an original Korean contemporary artwork at SAF Online.

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Price

₩5,000,000

Collect This Work

Recently Sold

68 artworks sold recently

Two beginnings made by one piece

For you
One-of-a-kind in the world
For the artist
the next month of their practice
For a fellow artist
a new ₩3,000,000 path of low-interest support

354 artists have walked this path of recovery; 95% returned to open it for the next.