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₩2,300,000
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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
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 artist mutual-aid fund.
Where the Light Passed 3 pm7h1m
Jeong Yeonsu
Authenticity
One-of-a-kind original
About the Artist
Jeong Yeonsu is a painter who translates the time and gaze embedded in everyday objects into painting. Her 〈reflection (Where Light Has Passed)〉 series seeks to depict not the object itself but 'the way of seeing the object,' exploring how presence is revealed through shadows and the unseen sides of things. The work begins from the thought that, in an era of digitalization and dematerialization, each forgotten everyday object carries its own time and history.
Artist Statement
"Today, who feels that things gaze at them or speak to them? Who perceives the face of things? .. Who perceives the unique life of things? Whom does the warm gaze of things make happy? .." (The Disappearance of Things, Byung-Chul Han) The work begins with a long observation of the object, holding the question: "Now and here, in the space I am in, toward the objects I look upon, what is my response and attitude — and what should it be?" In this digitalized, de-objectified era, even the everyday things that are discarded and consumed each carry their own time and history. What we see is, at the same moment, gazing back at us. Things, too, undergo experience. A thing is a compression of gaze and time. My painting is not "a painting of things," but "a painting of the way of seeing things." It paints my attitude toward things, the gaze of things toward me, and the relationship that arises from that. The "reflection (where the light has passed)" series I am submitting to Seedape is a painting that reveals presence through the back side, the shadow of the object.
Related materials
Korean media · Original Korean article
This article text is currently available in Korean. Open the source to read the original version.
Brunch · 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.
Other works by Jeong Yeonsu
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94 artworks sold recently
Two beginnings made by one piece
- For you —
- One-of-a-kind in the world
- 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.






