Price
₩4,000,000
Limited edition of 10 — 10 left
Want to consult before buying? Request a consultation
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.
Ornament #3
Kim Taegyun
- Category
- Digital Art
- Material
- Digital print, Diasec
- Size
- 100×100cm · Size 40 · Large How big is this? →
- Year
- 2013
- Edition
- Edition 4/10 What's an edition? →
- Price
- ₩4,000,000
- Availability
- For sale
About the Artist
Kim Taekyun is a visual artist who reconstructs the gaze of landscape and territory in multilayered fashion, having worked between Stuttgart, Germany and Korea. His solo exhibitions include 〈Adapted Territory〉 (Kim Chong Yung Museum Creative Support Exhibition, 2019), 〈Eternal Vacation〉 (Seoul Museum of Art Emerging Artist Selected Exhibition at Space Can, 2013), and 〈Shadow of Landscape〉 (Ehingen Municipal Museum of Art, Germany, 2011). He has participated in major museum exhibitions including 〈Border 155〉 (SeMA, 2017), 〈Salon de SeMA〉 (SeMA New Acquisitions Exhibition, 2015), 〈Formula of Imagination〉 (Busan Museum of Contemporary Art New Acquisitions Exhibition, 2019), and 〈BETWEEN WAVES〉 at Amorepacific Museum's APMAP (2014).
Artist Statement
This work, which looks like a tangled skein of thread, blood vessels, or the vines of a plant, is in fact an aggregation of the multi-level interchanges that lead into two cities, Seoul and Pyongyang. With no visible exits or entrances, the cars indifferently going their own way recall the political relationship of the Korean peninsula, where connection and communication still feel distant; yet at the same time it metaphorically points to the invisible attempts to lay paths against one another and create new ones.
Key Career Highlights
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.
Magazine

Seoul and Pyongyang, Patterns of Two Cities: Kim Taegyun's Ornament
Kim Taegyun's *Ornament* collages Seoul and Pyongyang highway interchanges into one pattern. Six years between Stuttgart and Seoul; held by Seoul MoA and Busan MoCA.
Apr 20, 2026 · Seed Art Festival
Where Digital Meets Lacquer: Expanding the Boundaries of Contemporary Art
The idea that painting with oil on canvas is the only 'real' art was dismantled long ago. Twenty-one works at SAF 2026 are digital or mixed-media pieces that ask what materials art can claim. Jeong Chaehui's lacquer-and-eggshell work on digital print is the most striking example.
Apr 9, 2026 · Seed Art Festival
A First-Time Art Buyer’s Price Guide — From ₩300K to ₩10M
“How much should I start with?” The most common question from first-time art buyers. Here is what you can buy, and how to choose, at four price tiers — ₩300K, ₩1M, ₩3M, and ₩10M.
Apr 30, 2026 · Seed Art FestivalOther works by Kim Taegyun
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Price
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Two beginnings made by one piece
- For you —
- One of only 10 digital limited editions
- 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.


