Price
₩2,300,000
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.
reflection8 Kitchen pm5h47m
Jeong Yeonsu
- Category
- Painting
- Material
- Oil on canvas
- Size
- 72.7×53cm · Size 20 · Medium How big is this? →
- Year
- 2022
- Price
- ₩2,300,000
- Availability
- For sale
About the Artist
Jeong Yeonsu is a painter who translates the time and gaze embedded in everyday objects into painting. Her 〈reflection (Where Light Has Passed)〉 series seeks to depict not the object itself but 'the way of seeing the object,' exploring how presence is revealed through shadows and the unseen sides of things. The work begins from the thought that, in an era of digitalization and dematerialization, each forgotten everyday object carries its own time and history.
Artist Statement
"Today, who feels that things stare at them or speak to them? Who perceives the face of things? .. Who perceives the singular life of things? Whose warm gaze of things makes one happy? .." (The Disappearance of Things, Byung-Chul Han)
The work begins with prolonged observation, carrying the question: "Now & here, in the space I inhabit, toward the objects I look upon — what is, and what should be, my response and attitude?"
In this digitalized, de-thingified era, even the everyday objects we discard and consume hold their own time and history. What we see gazes back at us at the same time. Things, too, have experiences. A thing is a compression of gazes and time.
My painting is not "a depiction of things" but "a depiction of the way of seeing things." It paints the attitude with which I look at things, the gaze with which things look at me, and the relationship that arises from this exchange.
The "reflection (the place where light has passed)" series presented at this Seed Art Festival is painting that reveals existence through the reverse side, through the shadow, of its subject.
Related materials
Korean media · Original Korean article
This article text is currently available in Korean. Open the source to read the original version.
Brunch · 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.
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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.
