{"id":61360,"date":"2026-07-06T11:16:39","date_gmt":"2026-07-06T02:16:39","guid":{"rendered":"https:\/\/kiaf.org\/?post_type=insights&p=61360"},"modified":"2026-07-06T11:16:39","modified_gmt":"2026-07-06T02:16:39","slug":"%ea%b1%b4%eb%84%88%ea%b0%80%ea%b8%b0","status":"publish","type":"insights","link":"https:\/\/kiaf.org\/en\/insights\/61360","title":{"rendered":"Crossing"},"content":{"rendered":"

Lee Choonyoung<\/span><\/strong><\/p>\n

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Lee Choonyoung, Crossing, 2025, Pigment and medium on canvas, 130x162cm<\/em><\/span><\/strong><\/p>\n

Lee Choonyoung’s practice has been shaped by years of sustained observation of and engagement with nature. During her time in India, she came to perceive nature not as a fixed subject but as a flow in which life, time, and relationships overlap. Through terracotta and ink drawing, she explored the traces of materiality and the passage of time.\u00a0<\/div>\n
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Lee Choonyoung, Crossing, 2023, Pigment and medium on canvas,130x162cm<\/em><\/span><\/strong><\/div>\n
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Across different experiences and mediums, her practice has continued to expand questions surrounding nature, time, and relationships, while carrying that inquiry forward into the present. Crossing presents Lee Choonyoung\u2019s recent works as an extension of her long-standing practice. The works on view reveal how years of sustained observation and engagement with nature continue to find form in her current work.<\/div>\n
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Lee Choonyoung, Crossing, 2026, Pigment and medium on canvas, 100×72.7cm<\/em><\/span><\/strong><\/div>\n
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Lee Choonyoung has developed her artistic attitude through everyday walks and sustained observation. Early experiences in her childhood studio played a formative role in understanding art not as a separate realm from life, but as a way of being.<\/span><\/strong><\/div>\n
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Lee Choonyoung, Crossing, 2026, Pigment and medium on canvas, 100×72.7cm<\/em><\/span><\/strong><\/div>\n
Her subsequent practice has unfolded through experiences within academic and institutional contexts, encounters with critical discourse on art, and personal transitions in life. These layers of experience have provided a foundation for her practice to continuously expand beyond fixed forms.<\/span><\/strong><\/div>\n
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Lee Choonyoung, Crossing-Summer, 2025, Pigment and medium on canvas,116.8×80.3cm<\/em><\/span><\/strong><\/div>\n
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A significant turning point came during her time in India. Through repeated walks and movement, nature was no longer perceived as a fixed object, but as a field in which life, time, and relationships overlap. Moments beneath banyan trees, passages through unfamiliar landscapes, and the everyday presence of teahouses and night air accumulated as layers of sensibility within her practice.\u00a0<\/div>\n
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Lee Choonyoung, Autumn splendor , 2025, Pigment, dry stem, seed and medium on canvas, 40.9×31.8cm<\/em><\/span><\/strong><\/div>\n
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This experience was later translated into terracotta and ink drawing, becoming a language of material and gesture. Clay and ink are not merely materials, but mediums that carry traces of time and the passage of life.<\/div>\n
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Lee Choonyoung, Walking, 2024, Pigment, dry stem and medium on canvas, 72.7\u00d753cm<\/em><\/span><\/strong><\/div>\n
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After returning to Korea, her practice has continued without rupture, unfolding in different forms. The boundaries between appearance and disappearance, surface and depth, remain unfixed and are constantly transformed within a state of flow.<\/div>\n
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Lee Choonyoung, Nuclear, 2023, Pigment, root and medium on canvas, 45.5×37.9cm<\/em><\/span><\/strong><\/div>\n
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Her current work is closely aligned with the rhythms of nature\u2014where creation and dissolution, accumulation and emptiness continuously repeat\u2014existing as a condition of ongoing transformation and condensation.<\/div>\n
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\uac24\ub7ec\ub9ac\ud314\uc870<\/span><\/strong>
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WEB<\/a>\u00a0 \u00a0 \u00a0INSTAGRAM\u00a0 \u00a0 \u00a0<\/a>FACEBOOK<\/a><\/span><\/strong><\/p>\n<\/div>\n","protected":false},"featured_media":0,"template":"","categories":[50,51],"class_list":["post-61360","insights","type-insights","status-publish","hentry","category-insight","category-stories"],"translation":{"provider":"WPGlobus","version":"3.0.0","language":"en","enabled_languages":["ko","en"],"languages":{"ko":{"title":true,"content":true,"excerpt":false},"en":{"title":true,"content":true,"excerpt":false}}},"acf":[],"_links":{"self":[{"href":"https:\/\/kiaf.org\/en\/wp-json\/wp\/v2\/insights\/61360","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/kiaf.org\/en\/wp-json\/wp\/v2\/insights"}],"about":[{"href":"https:\/\/kiaf.org\/en\/wp-json\/wp\/v2\/types\/insights"}],"wp:attachment":[{"href":"https:\/\/kiaf.org\/en\/wp-json\/wp\/v2\/media?parent=61360"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kiaf.org\/en\/wp-json\/wp\/v2\/categories?post=61360"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}