Price
₩3,500,000
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.
Kimchi 2025-2
Lee Hyeonjeong
- Category
- Painting
- Material
- Oil on canvas
- Size
- 60.6×72.5cm · Size 20 · Medium How big is this? →
- Year
- 2025
- Price
- ₩3,500,000
- Availability
- For sale
About the Artist
Lee Hyunjeong is an artist who visualizes Korean identity and the traces of modern history through her 〈Kimchi〉 series and works on peace and the DMZ. Her solo exhibitions include 〈Kimchi_Breath〉 at CICA Museum (2022), 〈Kimchi〉 at Alternative Art Space Ipo (2019) and at GALLERIE LUTÈCE PRESENTS in COEX (2024), and 〈Ms. Lee's Drifting〉 at the Jeong Mun-gyu Museum of Art (2023). She participated in the 2018 PyeongChang Winter Olympics' 〈DMZ Art Festa: Peace—Wind〉, was invited to 〈UTOPIA?! PEACE〉 at the Berlin Wall Memorial and Kunstraum Potsdam (2023), and received the Excellence Award at the 2024 Fukuoka Art Award. In 2026, she was selected as a long-term resident artist at the Hongti Art Center (Busan Cultural Foundation). Her works are held in the collections of the Fukuoka Art Museum and the Goseong DMZ Museum.
Artist Statement
Lee Hyeon-Jeong works across painting, installation, and performance, dealing with the sense of time created by "breath" and "fermentation." Her work often touches the viewer's bodily senses through intense red and a vivid materiality, but she refuses to let that discomfort be consumed merely as shock; she holds on to the warmth of "time that has survived" and the possibility of recovery to the very end.
In her 2018 work Breath-Path, the artist left red traces of red pepper powder on a frozen river. Red bleeding across the cold, fixed surface was at once an outpouring of suppressed emotion and a way of revealing "being alive" even within a frozen world. This first scene expanded into the Kimchi series, ongoing since 2019. For the artist, kimchi is both a self-portrait and a metaphor for life. The process of being salted, mixed, and slowly transformed in the waiting into another taste and texture resembles the way wounds and memories shift and change within a life.
In her later Breath-Profound work, Lee does not explain breath and heart merely as physiological phenomena. She lets viewers experience, within the space, the points where life and death, the material and the immaterial, past, present, and future touch one another, and through this she reveals the sensation of a connection between "you and I" arising. This inquiry has expanded beyond installation and image into performance, continuing through encounters with viewers.
In the series Lee! A Drift Tale, the artist re-weaves family experience and records into gauze books, archives, texts, video, and installation, attempting to convey through a sensory language times that words alone cannot fully transcribe. Personal narrative expands beyond family history into the wounds left by history, and the questions of disappearance/record/testimony are converted not into representation but into sensory installation and action. The layers of the gauze book, the fermentation of kimchi, the heart-objects and performance — all are devices revealing layers of being and memory transformed by the passage of time, and become routes by which what has disappeared returns once more as sensation.
In 2023 she participated in the exhibition and performance program UTOPIA?! PEACE at Kunstraum Potsdam, Germany, by invitation of KuBB; in 2024 she received the Excellence Award at the Fukuoka Art Award.
Key Career Highlights
Related materials
Artbava · Original Korean article
This article text is currently available in Korean. Open the source to read the original version.
Public Art · 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.
Korean media · Original Korean article
This article text is currently available in Korean. Open the source to read the original version.
CICA Museum · Original Korean article
This article text is currently available in Korean. Open the source to read the original version.
Magazine
When Kimchi Becomes a Self-Portrait: Lee Hyeonjeong's Time of Fermentation
Lee Hyeonjeong walked onto a frozen river in 2018 with chili powder. Kimchi as self-portrait — fermentation as how time turns matter.
Apr 9, 2026 · Seed Art Festival
SAF Painters — From Korean Painting to Abstraction
The 40+ painters of SAF 2026, read across six lineages — from Reality and Utterance founders to KAIST-trained painters, Brussels sculpture MFAs, and Goryeo-Buddhist-painting masters.
Apr 20, 2026 · Seed Art Festival
Contemporary Art Pricing — Artist, Medium, Size, Date: 4 Factors of Korean Art Market
“Is this price fair?” The question every buyer asks. To answer it you need to understand the four forces that set art prices: artist, medium, size, and date.
May 2, 2026 · Seed Art FestivalOther works by Lee Hyeonjeong
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- For you —
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- 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.