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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
95 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.
Ego, Is This Face Really Yours?
Lee Cheolsu
Authenticity
Limited edition
About the Artist
Lee Cheolsu, one of the most representative printmakers of our time, was born in Seoul in 1954. He was once a literature-obsessed youth, but after completing his military service, he chose the path of the artist and taught himself painting. Since holding his first solo exhibition in Seoul in 1981, he has held numerous solo exhibitions throughout Korea and, in 1989, had solo exhibitions in major cities across Germany and Switzerland. He subsequently exhibited in overseas cities including Seattle in the United States. In 2011, he held a 30th anniversary printmaking exhibition and published Tree-Carved Hearts, a collection of his major works. Initially acclaimed as an outstanding Minjung (People's) printmaker, Lee has since turned his attention to Zen (Seon) and spirituality within everyday human life, presenting exquisite works that unite profound spiritual worlds with artistic soul. Never releasing the pressing issues of his era, he maintains a particular concern for peace and environmental causes while farming and continuing his printmaking practice.
About this work
〈Ego, Is This Face Really Yours?〉 is a Printmaking work by Lee Cheolsu. Created in 2021 on Woodblock print on hanji, measuring 50x42cm. Available as an original Korean contemporary artwork at SAF Online.
Key Career Highlights
Publications "Flowers Blooming in the Shade" Bundo Publishing (1981) "Han - A Meeting of Theology and Art" co-authored with Seo Namdong, Bundo Publishing (1982) "Biography of Van Gogh" Woongjin Publishing (1987) "Biography of Kim Hongdo" Woongjin Publishing (1987) "Dawn Comes, Beat the Drum!" Theory and Practice (1989) "Even Birds Have Weight" Haeinsa Publishing (1990) "Mountain Cherry Blossoms in White..." Hakgojae (1993) "Song of Dry Grass" Hakgojae (1995) "Such a Good Day" Hakgojae (2000) "On the Night When Pear Blossoms Bloomed White" Munhakdongne (1996) "One Sound" Munhakdongne (2001) "Even Birds Have Weight" Munhakdongne (2002) "Waking to Morning Every Day: Lee Cheolsu's Leaf Letters" Samin (2006) "Thank You for Being Here" Samin (2009) "I Miss You Today Too (Lee Cheolsu's Leaf Letters)" Samin (2010) "Small Gift" Homi (2004) "Song" Homi (2005) "Happiness of a Bowl of Rice, Joy of a Bowl of Water" Samin (2004) "Quietly, Quietly, Love These Small Things" Samin (2005)
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.
EBS · Original Korean article
This article text is currently available in Korean. Open the source to read the original version.
Magazine

Lee Cheol-soo — From Minjung Woodblock to the Woodblock of Zen, One Texture of Korean Printmaking
Lee Cheol-soo (b. 1954), master of Korean woodblock. 30-year evolution from 1980s minjung woodblock to Zen, spirituality, and peace. Farming and woodblock practice in Jecheon — with 5 curated picks.
2026-05-10
Agriculture and Labor in Korean Art — Kim Jun-kwon's Mountains, Min Jeong-gi's Fields, Lee Cheol-soo's Earth
Korea's oldest pictorial motif is agriculture. Tracing the contemporary lineage from Shin Hak-chul's *Rice Planting* (1987) through Kim Jun-kwon's woodblocks, Min Jeong-gi's Yangpyeong fields, Lee Cheol-soo's hanji prints, and Jung Young-shin's five-day market photographs.
2026-04-29
Korean Contemporary Printmaking — Five Lineages at SAF
Contemporary Korean printmaking, read through five artists at SAF 2026 — from Lee Cheolsu's woodblock Zen to Kim Jonghwan's broken-printer sculptures.
2026-04-20Other works by Lee Cheolsu
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Recently Sold
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Two beginnings made by one piece
- For you —
- One of a limited edition
- 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.








