How do I purchase an artwork on SAF Online?

Browse artworks at https://www.saf2026.com/en/artworks, click on the artwork you like, then click the "Buy Now" button to proceed to checkout via Toss Payments.

How much is shipping?

Shipping within Korea is a flat rate of ₩0. International shipping is not currently available.

Can I return an artwork?

Yes. Returns are accepted within 7 days of delivery. Return shipping costs are the responsibility of the buyer. Contact us at contact@kosmart.org to initiate a return.

How long does delivery take?

Order processing takes 1–3 business days, and delivery within Korea takes 1–7 business days.

Are the artworks original works?

Yes. All artworks are original works by verified Korean artists participating in the SAF 2026 exhibition. Certificates of authenticity are provided where applicable.

What is the purpose of artwork sales revenue?

Sales proceeds support the Korea Smart Cooperative artist mutual-aid fund, which provides low-interest loans to fellow artists trapped in predatory lending.

What kind of work is "Dandelion Candlelight" by Ryu Yeonbok?

"Dandelion Candlelight" is an original work by Ryu Yeonbok, presented at SAF 2026 — a mutual-aid campaign by Korean artists.

What is the price and size of "Dandelion Candlelight"?

Price: ₩500,000. Size: 30x35cm.

Can I see other works by Ryu Yeonbok?

Yes. View Ryu Yeonbok's full SAF 2026 collection at https://www.saf2026.com/artworks/artist/%EB%A5%98%EC%97%B0%EB%B3%B5.

Is "Dandelion Candlelight" an original work with a certificate of authenticity?

Yes. "Dandelion Candlelight" is an original work by Ryu Yeonbok, verified through SAF 2026. A certificate of authenticity is provided where applicable.

Dandelion Candlelight · Ryu Yeonbok

Price

₩500,000

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Certificate

Certificate of authenticity included

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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.

Authenticity

Limited edition

What "edition" means →

CategoryPrintmakingMaterialTBD Size30×35cm · Size 5 · Small How big is this? →Price₩500,000

Full collecting guide →

About the Artist

Ryu Yeonbok was born in Gapyeong, Gyeonggi Province, studied in Seoul, and entered the world of Minjung (People's) Art in earnest when he enrolled at Hongik University's College of Fine Arts in 1977. His simple belief that 'beauty should be enjoyed by many' became the driving force behind founding the Seoul Art Community upon his graduation in 1984 and leading the mural movement through the mural team 'Shipjangsaeng.' In 1985, he organized the 'Eulchuk Year Art Grand Festival,' a marketplace-style event where ordinary people could purchase artworks for as little as 5,000 won. In 1986, he was involved in the exhibition The Power of the Twenties in Korean Art, which was shut down by police. In 1989, prior to Lim Su-kyung's visit to North Korea, he traveled to the United States to create large-scale banner paintings and prints to send to the North. Woodblock printing is a medium characterized by relatively easy production and virtually unlimited reproduction. These qualities were of great importance to Minjung Art artists, who aimed not only for the public to view art but also to create it themselves, opposing the exclusive enjoyment of art by a wealthy elite. Consequently, printmaking became highly prevalent during the 1980s under the influence of the people's movement, and woodblock printing was particularly welcomed for its connection to tradition. Ryu Yeonbok skillfully brought out the rough texture of the chisel inherent in woodblock printing, expressing a harmonious balance of dynamic figures and backgrounds within simple compositions.

About this work

〈Dandelion Candlelight〉 is a Printmaking work by Ryu Yeonbok. measuring 30x35cm. Available as an original Korean contemporary artwork at SAF Online.

Key Career Highlights

Education 1984 B.F.A., Department of Painting, College of Fine Arts, Hongik University Professional Affiliations 1985 Representative, Seoul Art Community 1987 Member, Mural Painting Group Hwalhwasan 1991 Secretary General, National Art Council 1992 Director of External Cooperation, Korean National Artists Association 1995-1998 Woodcut Print Instructor, Hankyoreh Culture Center 2004-2006 Co-Representative, Anseong Stream Restoration Citizens' Group 2004- Co-Chair, Green Anseong 21 Exhibitions 1983 Ryu Yeon-bok, Park Jong-won, Shin Jin-sik, Third Art Museum 1984 Art of Life Exhibition, Third Art Museum, Gwanhun Gallery, Arab Gallery 1985 Eulchuk Year Art Grand Festival, Arab Gallery 1985 Representative Works of 1980s National Art Exhibition, Hanaro Gallery 1985 Korean Art: The Power of the 20s Exhibition, Arab Gallery 1986 Fresh Statements by Young Generations, Geurim Madang Min 1986 Korean Minjung Print Exhibition, Osaka 1986 JALLA Exhibition - Minjung of Asia, Tokyo 1986-1990 Unification Exhibition, Geurim Madang Min 1987 Satire and Humor Exhibition, Geurim Madang Min 1987 Anti-Torture Exhibition, Geurim Madang Min 1987 Korean Minjung Print Exhibition, Geurim Madang Min 1988 Korean Minjung Print Exhibition, Seoul, Jeonju, London 1988 JALLA Exhibition - Wind Blowing Through Asia, Tokyo 1988 Korean Minjung Art Exhibition, Hirakata 1988 Korean Minjung Print Collection Exhibition, Geurim Madang Min 1989 Ryu Yeon-bok Minjung Print Exhibition, SPARC Gallery, LACC University, Chicago Hankyoreh Branch 1989 Minjung Print Exhibition, USA 1990 Education Field Exhibition, Geurim Madang Min 1990 Farmers' Art Exhibition, Yonsei University Baekyang-ro 1990 Gwangju, Oh May!, Geurim Madang Min 2000 Ryu Yeon-bok's Life Exhibition, Gongpyeong Art Center, Art Center Mano 2003 Bongcheon-dong Naum House - Building a World Together Fundraiser Exhibition 2004 Ryu Yeon-bok: Standing on This Ground, Insa Art Center 2004 Ryu Yeon-bok Woodcut Print Exhibition, Anseong Civic Center 2004 Centennial of Korean Immigration to America Commemorative Print Invitational Homecoming Exhibition - The Breath of Korea, Boksagol Culture Center Boksagol Gallery 2004 People Who Draw on Wood, Gyeonggi Cultural Foundation Exhibition Hall 2004 Eommoe, Mt. Moak Exhibition, Jeonbuk Museum of Art 2005 Red Blossom: Northeast Asian 3-Nation Contemporary Woodcut Print Special Exhibition - Korean Ancient Prints, Ilmin Museum of Art 2005 Meeting Art, We Go to Anseong, Alternative Art Space Sonamu 2007 The Power of Spirit That Awakens Existence, Gapyeong Gail Museum of Art 2009 Solo Exhibition, Jain Zeno Gallery