Price
₩5,000,000
A unique original — the only one in the world
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
One artwork becomes the oxygen that keeps a fellow artist creating.
Sales proceeds go to the artist mutual-aid fund.
Green Feet
Ryu Junhwa
- Category
- Painting
- Material
- 캔버스위에 아크릴, 콘테, 석회
- Size
- 60.6×72.7cm · Size 20 · Medium How big is this? →
- Year
- 2015
- Price
- ₩5,000,000
- Availability
- For sale
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.
Related materials
Korean media · Original Korean article
This article text is currently available in Korean. Open the source to read the original version.
Korean media · Original Korean article
This article text is currently available in Korean. Open the source to read the original version.
zineseminar · Original Korean article
This article text is currently available in Korean. Open the source to read the original version.
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Two beginnings made by one piece
- For you —
- One-of-a-kind in the world
- For the artist —
- the pride of standing with a peer
- 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.
