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
“아이들 모르게 나만 3일을 굶었던 기억.”
— 50대, 연극인
“돈이 없어 절박했던 치과 치료를 못 받고 있어요. 병원을 제때 가야 하는데, 안 가고 웬만하면 참는 것이 이젠 습관이 돼버렸습니다.”
— 50대, 배우
“돈이 없어서 귀 치료를 계속 미뤘고, 그로 인해 양쪽 귀 다 증상이 악화됐습니다.”
— 30대, 음악인
“병원에 입원 중이신 어머니의 병원비를 낼 수 없어, 퇴원을 미루기도, 받아야 할 검사와 치료를 포기하실 수밖에 없었습니다.”
— 50대, 배우/방송인
“임대료 연체로 인해 단체 사업장이자 거주지에서 비자발적으로 퇴거해야 하는 상황이 있었습니다. 금융권은 물론 예술인 대출도 도움이 되지 못했습니다.”
— 50대, 배우
“경제적 형편의 문제로 갈 곳이 없어 고시원, 연습실 등을 전전하다 한동안 노숙을 한 적이 있습니다.”
— 30대, 음악인
“하루 4시간도 채 못 자며 알바와 연극을 병행하지만, 공연을 할수록 빚만 늘어가는 상황이 계속되어 공연을 그만두기로 함.”
— 30대, 배우
“작품보다 매달의 금전적 해결을 우선순위로 집중해야 하는 상황이 아쉽습니다. 예술인으로서 큰 수익을 내려면 작품이 잘 돼야 하는데, 작품보다 매달 소일거리 찾기에 집중해야 함이 악순환 속에 갇혀있는 느낌이 듭니다.”
— 40대, 음악인
“당장의 매달 닥쳐오는 대출금으로 인해 공연을 접고 알바에 집중한 적이 많음.”
— 50대, 배우
“독촉 전화로 연습과 공연에 지장을 주고, 이로 인해 심리적 부담감과 압박이 하루하루를 고통스럽게 하고 다음날이 두려워짐.”
— 40대, 연극인
“돈이 없으면 삶이 무너지는데 예술 창작은 꿈도 못 꾸죠.”
— 50대, 예술가
“지인들에게 돈을 빌리면서 드는 그 치욕감과 인연 단절, 그리고 갚지 못하면서 밀려오는 압박감, 무력감.”
— 50대, 만화가/미술가
“힘들 때는 친한 지인의 경조사에 참석할 수도 없을 정도였고, 그로 인해 인간관계조차 단절된 적이 있다.”
— 50대, 배우/방송인
“서민을 위한 제도임에도 예술인이라는 이유로 증빙이 부족할 때 자괴감을 느낍니다.”
— 30대, 영화/방송인
“연극배우라고 하자 '무직자'라고 대출담당으로부터 들었던 것.”
— 50대, 배우
94 artworks sold, each becoming a seed of solidarity
One artwork becomes the oxygen that keeps a fellow artist creating.
Sales proceeds go to the .
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Encore
Lee Hocheol
CategoryPaintingMaterialAcrylic on canvasSize73x61cmPrice₩4,000,000
About the Artist
Looking into the Cracks of Everyday Life — Painter Lee Ho-cheol
Lee Ho-cheol was born in Seoul in 1958. A graduate of Hongik University, he has steadily pursued his artistic practice with a focus on painting and printmaking. Without making grand pronouncements, he has consistently refined his own visual language, devoting many years to exploring the possibilities of figurative painting.
Awards and Exhibitions
Lee first came to public attention in 1978 when he received an Encouragement Award at the 1st JoongAng Fine Arts Prize Exhibition. He later solidified his standing as an artist by winning consecutive honors, including the Monte Carlo Art Grand Prize Exhibition in 1990 and the Grand Prize at the Gongshin Art Festival in 1994. Yet more striking than his impressive record of awards is the unwavering continuity of his practice. Rather than being swept along by external trends or artistic movements, Lee has persistently questioned and developed his own painterly language.
His exhibition history is equally substantial. In 1990, he held his first solo exhibition at Kumho Museum of Art, and since then he has presented approximately twenty-five solo exhibitions at major Korean galleries including Noh Gallery, Pyo Gallery, Arario, and Sun Gallery. He has also been active on the international stage, participating in such events as the International Impact Art Festival in Kyoto, the 8th JAALA Exhibition in Tokyo, and Fifty Years of Korean Contemporary Painting at Seoul Gallery, along with more than 300 group and invited exhibitions in Korea and abroad. This sustained record of showing his work not only in solo exhibitions but also through group and curated exhibitions demonstrates how faithfully he has remained engaged with the art world over the years.
Artistic World — Landscapes Inside Drawers
Art critic Seo Seong-rok has remarked that looking at Lee Ho-cheol’s paintings feels like reading a diary. Ordinary objects encountered in daily life — dining tables, glasses, chairs, drawers, neckties, clocks, bags, coffee cups, gloves, hats, ballpoint pens, and laptops — fill his canvases. Like a room whose owner has briefly stepped away, these objects rest quietly in their proper places. A stillness, as though time itself had stopped like a broken clock, envelops the entire image.
Yet this quietude is not simply that of a conventional still life. As one looks more closely, strange details begin to emerge. Within a half-open drawer unfolds a distant sky; endless railroad tracks appear; a hazy field comes into view. Hats and gloves drift freely in midair, while objects far larger than the drawers themselves are somehow contained within them. In this way, a world beyond reality suddenly intrudes into the realm of the everyday.
His paintings may appear faithful to daily life, but in fact they are open toward what lies beyond it. The whole and the unexpected, the rational and the irrational, consciousness and the unconscious collide within a single frame. From the tension born of these collisions, the viewer gains the freedom to dream. Anyone exhausted by the repetitive cycle of everyday life may feel a sense of release in front of his paintings, as though finally able to breathe more freely.
Peeking In — Drawers Not Yet Opened
This act of “peeking in” is a key language running throughout Lee’s work. The greatest charm of his paintings lies in the moment when a closed drawer opens and an entirely different world unfolds beyond the gap. His paintings skillfully awaken a psychology akin to the thrill of receiving a parcel and wondering what might be inside, or the curiosity one feels about the backstage just before a theater curtain rises.
What is important is that the drawers are never fully open. They are half-open, or even when open, their interiors are angled away from view so that the whole cannot be seen. Many more drawers remain firmly shut. This very refusal to reveal everything stimulates the viewer’s imagination all the more powerfully. Suggestive devices such as shadows cast from windows, awnings, and carefully rendered interior structures support this effect.
Breaking the Frame — Moving Beyond the Picture
Lee Ho-cheol’s work does not stop at drawers and objects; it extends its interest to the very frame of painting itself. In his works, the frame is already painted within the picture, making an external frame unnecessary. By drawing the frame into the painting, he transforms it into a central pictorial element.
Taking this a step further, Lee has also experimented with altering the shape of the canvas itself. Moving away from the conventional rectangular format, he has actively embraced a variety of shaped canvases. This is an act of breaking down the boundary between inside and outside the painting. It expresses not merely a desire to dream of freedom within an imaginary pictorial space, but a will to bring that freedom into actual space. In works featuring white porcelain, including moon jars, he delicately depicts the marks left by the potter’s wheel and the traces of white clay on the ceramic surface, creating a distinctive painterly texture in which brushstrokes can almost feel abstract.
Collections
Lee Ho-cheol’s works are held in the collections of numerous institutions and corporations, including Samsung Group, the Seoul Museum of Art, Asiana Airlines, Kukdong Group, Gongyeong Construction, Chunggu Group, Bosung Group, Hanjin Group, Kumho Group, Woobang Construction, Daewoo Group, Dong-A Group, Hanshin Engineering & Construction, Newcore, Kookje Group, Poonglim Group, Youngchang Piano, Anam Watch, Severance Hospital, Yangju City Museum of Art, Samsung Medical Center, Arario Group, the Judicial Research and Training Institute, Asan Medical Center, the Busan Museum of Art, Daejeon Museum of Art, Gwangju Museum of Art, and the Jeonnam Museum of Art.
Overseas, his works are also housed in collections in places including the Embassy of Mexico, Poland, Hong Kong, Dubai, Nigeria, Spain, Belarus, Belgium, Shanghai, Monaco, Türkiye, Scandinavia, Bolivia, South Africa, and Greece.
Key Career Highlights
Awards
- Grand Prize, Mexico Olympics Commemorative Art Exhibition (1968)
- Grand Prize, JoongAng Ilbo Art Exhibition
- Grand Prize, Monaco Royal Art Exhibition
- Grand Prize, Gongsan Art Festival
- Sun Art Prize, Grand Prize
Collections
Samsung Group, Seoul Museum of Art, Asiana Airlines, Kukdong Group, Gongyeong Construction, Cheonggu Group, Bosung Group, Hanjin Group, Kumho Group, Woobang Construction, Daewoo Group, Dong-A Group, Hanshin Engineering & Construction, Newcore Group, Kukje Group, Punglim Group, Youngchang Piano, Anam Watches, Severance Hospital, Yangju Municipal Museum, Samsung Medical Center, Arario Group, Judicial Research and Training Institute, Daejeon Museum of Art, Gwangju Museum of Art, Jeonnam Provincial Museum of Art, Asan Medical Center, Yeongam Museum, Shilla Hotel, Intercontinental Hotel, Beijing Hotel, Oak Premium Hotel, Hilton Hotel, Swiss Grand Hotel, Orakai Hotel, Sheraton Hotel, and over 100 other venues including overseas hotels and golf courses. Embassy of Mexico, Poland, Hong Kong, Dubai, Nigeria, Spain, Belarus, Abrabe Millette, Belgium, Shanghai, Monaco, Turkiye, Scandinavia, Bolivia, South Africa, Greece, and numerous other international public institutions.