Price
₩3,500,000
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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
One artwork becomes the oxygen that keeps a fellow artist creating.
Sales proceeds go to the artist mutual-aid fund.
Beam Letter
Lee Iktae
- Exhibition
- Oh Yoon Terracotta Relief Exhibition
- Category
- Painting
- Material
- Acrylic, hanji
- Size
- 60×55cm · Size 12 · Medium How big is this? →
- Year
- 2011
- Price
- ₩3,500,000
- Availability
- For sale
About the Artist
Lee Iktae was a versatile Korean 'total artist'—a painter, film director, theater director, and performance artist. Born in 1947, he passed away on December 7, 2025, at the age of 78. During his studies at Seoul Institute of the Arts, he emerged on the avant-garde scene in 1970 by directing and starring in Korea's first independent film, Between Morning and Evening. As a member of 'The Fourth Group' in the 1970s, he challenged established art alongside artists such as Bang Taesu and Kim Kulim. In 1977, he moved to the United States with dreams of becoming a painter and founded the performance group 'Theater 1981' in New York and Los Angeles. After the 1992 LA riots, he expressed disaster healing and social reconciliation through works including Volcano Island and Hugging Angels. After returning to Korea in 1999, his Ice Wall series symbolically addressed the reality of national division. In his later years, the Pierrot and Aiku series explored nature and inner life, advancing toward a state of effortless being (wu-wei). A screenwriter who debuted through the Dong-A Ilbo New Year's Literary Competition, he viewed art as a translation of life. He was a humanist who advised younger artists to 'tell your own story rather than seeking fame.'
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.
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.
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.

