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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

98 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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2003 Yangsan Yeongchuksan

Jo Munho

Authenticity

Limited edition

What "edition" means →
CategoryPhotographyMaterialPigment ink on FineArt Paper print What's a pigment print? →Size80×58.5cm · Size 20 · Medium How big is this? →Year2026Price₩1,000,000

About the Artist

Jo Munho is a documentary photographer who photographs only people. He has captured the women of Cheongnyangni's red-light district, mountain farmers of Gangwon Province, the artists and bohemians of Insadong, market vendors, and the urban poor in jjokbang (tiny single-room dwellings). Rather than visiting to photograph, he has lived among his subjects while working. He served as editor-in-chief of Monthly Photography, the Korean Photo Association journal, and Samsung Photo Family. From 1995, he served as president of the Korea Environmental Photographers Association for ten years, contributing to the documentation of Korea's natural environment. He currently lives in the Dongjadong jjokbang neighborhood, documenting the lives of the urban poor.

About this work

〈2003 Yangsan Yeongchuksan〉 is a Photography work by Jo Munho. Created in 2026 on Pigment ink on FineArt Paper print, measuring 80x58.5cm. Available as an original Korean contemporary artwork at SAF Online.

Key Career Highlights

Solo Exhibitions Asian Games (1986), Dong-A Art Festival Invitational (1987), Pro-Democracy Movement (1987), Jeonnong-dong 588 (1990), Buddhist Symbolism (1994), Traditional Patterns Invitational (1995), People of Donggang (2001), Wounds Left by Typhoon Rusa (2002), Mountain Village People (2004), Insadong: Landscapes of Memory (2007), Shinmyung Installation (2008), Erasing Mountains (2008), Insadong, Spring Days Pass (2010), Market Day: Lonely Peripheral Landscapes (2015), Cheongnyangni 588 (2015), It Is People (2016), Mountain Village People (2018), etc. Publications & Co-authored Works 'Cheongnyangni 588 Photo Collection', 'Go Forth, and Say It Was Beautiful: Cheon Sangbyeong Photo Collection', 'Insadong Story Photo Collection', 'Mountain Village People Photo Collection', 'People of Donggang Photo Essay', 'Buddhist Symbolism Photo Collection', (Co-authored) 'Upo Wetland', 'Donggang', 'Nakdonggang', 'Seoul Environment', 'Great Collection of Korean Buddhist Art' (7 volumes), etc. Awards & Selections Dong-A Art Festival Serial Work 'Red Light District' Grand Prize (1985) Asian Games Record Photography Competition Grand Prize (1986) Gangwon Documentary Artist Selected (2002) 'Seoul Culture Today' Culture Grand Prize (2018)

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Korean media · 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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Korean media · Original Korean article

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jindongsun photoTV(YouTube)` · Original Korean article

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Two beginnings made by one piece

For you
One of a limited edition
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.