Dialogues Beyond Words: Powerful Emotional Abstract Art by Five Artists

“Dialogues Beyond Words” presents a curated collection of profound artworks by five distinctive artists: Toshiro Yamaguchi (b. 1956), Onishi Hiroshi (b. 1961-2011), Yiryang Oh (b. 1962), Shinduk Kang(b.1952) and Oan Kyu (b. 1953). This exhibition focuses on the non-verbal, contemplative interactions between the artworks and the viewers, emphasizing the silent yet powerful exchange of ideas and emotions. Each piece delves into abstract interpretations, the tactile nature of art, and the emotional or philosophical explorations communicated through colors, textures, and forms. Together, these works manifest “Dialogues Beyond Words,” as they communicate their essence through visual language alone—conveying emotions, thoughts, and narratives without uttering a single word. This exhibition invites you to immerse yourself in the silent conversations between the artworks and discover the powerful language of art that transcends spoken words.

Oan Kyu (b. 1953, lives and works in Italy)
“Earlier than Writing” by Oan Kyu features an intricate array of hand-drawn lines that undulate across a textured, cream-colored background. The lines form rhythmic, wave-like patterns, interrupted occasionally by blotches that resemble ink drops, suggesting an element of human involvement and the unpredictable nature of prehistoric markings. These variations add an organic touch, embodying the exhibition’s theme of silent, visual communication.

Yiryang Oh (b. 1962, lives and works in Korea)
“Existence Wave” by Yiryang Oh explores the philosophical essence of existence through wave-like textures on contrasting vibrant and muted panels. This artwork represents the continual flux of life’s energies, visualizing different states of being and offering a metaphor for the spectrum of human experiences, aligning seamlessly with the exhibition’s focus on non-verbal expressions.

Toshiro Yamaguchi (b. 1956, lives and works in Spain)
“Voice of Silence” by Toshiro Yamaguchi presents contrasting canvases— one dark with a textured, grid-like pattern and another off-white with a tactile surface showing signs of wear. This juxtaposition evokes a sense of history and the passage of time, reflecting the silent dialogue theme by conveying deep, meditative qualities through simple yet profound visual languages.

Hiroshi Onishi (b. 1961-2011)
“View of Remembrance” by Hiroshi Onishi captures an ethereal scene of delicate, intertwining branches in ghostly white and blue hues, creating a sense of depth and complexity. The artwork invites quiet introspection, perfectly encapsulating the serene and contemplative mood ideal for the exhibition’s theme of transcending spoken word through art.

Shinduk Kang (b. 1952, lives and works in Korea)
“Ocean” by Shinduk Kang is a stainless steel sculpture that abstracts the human form into fluid, reflective contours reminiscent of water. Its polished surface not only mirrors its surroundings but also encourages viewers to contemplate the interconnectedness of human and natural elements. This sculpture’s dynamic form and reflective quality offer an interactive experience, inviting silent yet profound exchanges between the art and its audience.

Galerie PICI

PICI Bldg. 25, Dosan-daero 87-gil, Gangnam-gu, Seoul, 06012, Korea



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Mina Jin: One Day a Walk

Galerie PICI is delighted to present ‘One Day, a Walk,’ a solo exhibition featuring the artistry of Mina Jin (b.1966). Running from March 19th to April 1st, 2024, this exhibition offers a captivating glimpse into Jin’s distinctive artistic journey, characterized by a seamless blend of traditional techniques and contemporary themes.

Mina Jin’s artistry is defined by her utilization of everyday elements, such as household objects and natural elements, which she intricately layers and reinterprets to reveal her inner narratives. Drawn primarily from her daily strolls and travels, Jin finds fascination in the ever-changing landscapes and the poetic imagery of trees swaying in the breeze. Her process involves capturing and documenting moments through photography during these daily strolls. These snapshots not only serve as references for her creations but also infuse them with a profound sense of connection to the natural world.

Moreover, Jin actively incorporates the aim to express the unique social dynamics and existential reflections of the COVID-19 era into her works. Through her pieces, she emphasizes personal introspection while also shedding light on societal isolation and the quest for individual identity. Jin’s art not only resonates on a personal level but also addresses broader themes of societal complexity and aesthetic inquiry. Her works serve as a bridge between the intricacies of contemporary society and universal human experiences, inviting viewers to explore new perspectives on personal growth and social issues.

Through Mina Jin’s evocative creations, Galerie PICI aims to inspire meaningful dialogues between art and society, enriching our understanding of the world around us. Mina Jin previously showcased her works in the solo exhibition ‘re-plant’ (2007) at Galerie PICI in Seoul, and her pieces are now part of the prestigious Artbank Collection at the National Museum of Modern and Contemporary Art, Korea.

Mina Jin (b. 1966) earned her BFA in Western Painting from Sookmyung Women’s University in Seoul in 1989, followed by an MFA from the same university in 1991. Her first solo exhibition took place in the same year at Gallery Kwanhoon in Seoul. In recent years, she has had solo presentations at venues including Insa Gallery (1995), Gallery Kwanhoon (1999), Insa Art Center (2004), Galerie PICI (2009), Hwabong Gallery (2010), Art Space Nut (2015), West End Gallery (2016), Nature Gallery (2018), and Galerie PICI (2024). Additionally, she has actively participated in international exhibitions, such as the Incheon Women’s Biennale (2011). Jin Mina’s works are held in collections of various institutions and individuals, including the National Museum of Modern and Contemporary Art – Korea and Sookmyung Women’s University. Her artwork has also been featured in various media, including illustrations in middle school Korean language textbooks.

Galerie PICI

PICI Bldg. 25, Dosan-daero 87-gil, Gangnam-gu, Seoul, 06012, Korea



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SangHo Byun I Love New York

Galerie Pici Seoul presents “SangHo Byun: Recent Paintings,” an exhibition running from December 29th, 2023 to January 11th, 2024. This showcase offers a exploration of SangHo Byun’s recent paintings, where vibrant colors, captivating imagery, and rich symbolism converge to reveal a thoughtful connection to the contemporary human experience.
Firstly, Byun seamlessly navigates between hyperrealism and abstraction in his paintings, creating a distinctive style. He draws inspiration from everyday life and contemporary themes, making his works resonate with profound relevance. Moreover, his art evokes narratives reminiscent of cherished picture book illustrations, inviting viewers into a world of imagination and storytelling. Additionally, Byun incorporates elements of pop art, bold color palettes, and playful visual cues such as doodles and symbolic expressions like apples and animals. Consequently, he infuses his paintings with energy and dynamism, capturing the essence of modern visual stimulation. Each painting in the exhibition showcases Byun’s unique perspective and his passion for artistic expression. When you look at his paintings, you enter a world where reality mixes with imagination, thus taking you on a journey of exploration and discovery through art.
SangHo Byun (b. 1970) is from Jinju, renowned for its rich cultural heritage. He graduated from Gyeongsang National University’s Department of Art Education and pursued his master’s degree in Western Painting at Changwon University. This solo exhibition at Galerie PICI marks his debut with the gallery. Previously, he has exhibited in cities like Seoul, Daegu, and Changwon, and has participated in various group exhibitions and art fairs.

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Group Exhibition: Various Emotions

To coincide with KIAF Seoul 2023 at COEX, Galerie Pici Seoul, located in Cheongdam-dong, presents the “Various Emotions” exhibition, running from September 1 through 21.
This exhibition spotlights iconic works from the Dansaekhwa artists, including Kim Whanki, Kim Tschang-Yeul, and Park Seo-Bo, drawing from the gallery’s extensive on paperwork collection. Furthermore, we are excited to showcase a captivating array of artworks by international artists from our gallery’s diverse roster, featuring Hajin Kang(b.1943), Shinduk Kang(b.1952), Toshiro Yamaguchi(b.1956), Isabella Gherardi(b.1962), SunSoo Kim(1963), Cai Jin(b.1965), TaeKyu Yim(b.1973), and Mark Stebbins(b.1979).

Galerie PICI

PICI Bldg. 25, Dosan-daero 87-gil, Gangnam-gu, Seoul, 06012, Korea



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Shinduk Kang: Heaven and Earth 2023

Shinduk Kang’s artistic practice encompasses both drawing and printmaking, with significant themes rooted in Eastern philosophy. In her work, she plays with the concept of a single large structure that can be divided, rearranged, and reconstructed into new forms, a process evident across her practice as she transitions between mediums, creating variations on her core themes.

The “Heaven and Earth” series highlights Kang’s ability to deconstruct and reconfigure elements to explore new artistic possibilities, embodying the unity and transformation central to her philosophy. This series juxtaposes two sides of the cycle of life, evident in her titles such as “Earth,” “Sea,” “Land,” “Lovely,” and “From the Pure Heart,” which reference various elements and environments of the world. She uses both color and combinations of black and white to emphasize different emotions about life, with her technique of embossing sections of the printwork adding a hint of mystery and playfulness. Her colored works on paper in the same series demonstrate her layering technique, where she draws with pencils while using acrylic to cover the surface and give it more depth.

Kang’s first major museum survey in 2005 at the Gwang-Ju Art Museum in Korea began with an exhibition room showcasing her screenprints on metal mesh, while the final room was dedicated to her screenprint works on paper. Her screenprints give a similar impression to her sculptural works, expressing a rhythmic and colorful energy. Both her on-paper works draw on the theme of the expansion of life, utilizing embossing techniques to subtly integrate patterns into her backgrounds and incorporating repeated designs with various colors symbolizing different elements of nature.

In “Heaven and Earth-from a Pure Heart,” Kang uses black and white as a stripped-down version of her blooming colors to center herself and find the core of her existence. This work on paper uses large sections of negative space, minimalist colors, and an embossed construction that deepens its meaning. The subtlety of the embossed detail reflects Kang’s reserved demeanor and observational practice. These layers of meaning are accompanied by large blocks of black, shown with circular granite cutouts representing the three significant vowels in the Korean language: Sky (circle), Earth (horizontal line), and Human (vertical line). These shapes form the foundation of other vowels in the alphabet and have a philosophical strength when used altogether, symbolizing the interconnectedness of heaven, earth, and humans.

Galerie PICI

PICI Bldg. 25, Dosan-daero 87-gil, Gangnam-gu, Seoul, 06012, Korea



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Hajin Kang: The World of Natural Rhythm

Hajin Kang (b. 1943) was born in Daegu South Korea, his childhood was spent in the period after the Korean War (1950-1953). He started his elementary school during this time and everything was in chaos. He drew just to soothe himself, it was part of self-development. It was a process of education, a self-preserving mechanism he had at that time.

His first exhibition was held in Seoul in 1972. Until the early 1980’s, his practices were focused on installations, using wires and Hanji paper with recorded frog croaking sounds by the water. He started working with canvas during the early 1980’s.

Throughout his practices, Kang approaches his work first and foremost as a painter, layering colors in a mesmerizing series of lines and dots on his canvas. This process is repeated endlessly with a series of different monochromatic colors. The end result is seemingly minimal at the distance, but up close you see multiple dots and lines of Kang’s laborious process.

His practice carries a message of the spiritual and emotional, something larger than life. Kang’s work is in the Art Bank collection of the National Museum of Modern and Contemporary Art, Seoul Korea.

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Open Air: Lenticular Prints And Stainless Steel Sculpture

Shinduk Kang (b.1952, Seoul, South Korea) explores the expressive qualities of abstract shapes and figures across a broad practice that encompasses works on paper, prints, sculptures, video, and fabric installations. Kang typically works in series with continuity throughout her works, which reflect a festive and celebratory mood that embodies her universal desire to emphasize affirmative living. She aids viewers to gain a new perspective by personalizing their experience. 

As evidenced in her lenticular works, offers a change in visual perspective which generates a shift in groups of colors, producing a kaleidoscopic effect. Kang continues to push traditional still-life painting into the domain of abstraction and design. 

Shinduk Kang’s sculptures reflect her liberation of color using familiar shapes but contrast them with unexpected lacquered colors. The blue zeppelin-shaped sculpture feels as if it’s buoyant. Open Air – B (2020), made of aluminum, denies a direct reflection of the viewer on its surface. It uses light to absorb the surface but shows shadows through heavily grooved curvy surfaces. At the same time, the silver stainless steel sculpture, Open Air – Richness (2020), enhances the viewer’s reflection through its mirror-like quality. The idea that these objects are taken from outside in from open field allows the direction of the light to be led by the channels marking the entirety of each sculpture.

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Existence Wave: Yiyang Oh’s Unique Silicone Strip

Yiyang Oh (b. 1964, Naju, South Korea) meticulously prepares colored silicone strips for his canvas. His material evolves from a liquid state to a solid state. Flattening creates random traces on the silicone as it solidifies, forming nodes on the canvas surface. He layers these strips tightly, leaving a slight space between each line. Although there is no particular focal point, viewers experience a rhythmic movement and flow. This construction evokes a sense of light flickering on the surface, creating luminous purity and a close sense of visual reality that we can feel but not see.

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Oan Kyu: Earlier than Writing

Oan Kyu (b.1953 in South Korea, Roma, Italy) Korean artist living in Rome, exercises in her calligraphic composition in order to perceive a higher dimension of the “self.” Her work is a quest for self-discovery written in a state of “mood.” Oan Kyu is firmly rooted in the tradition of calligraphers of her native country. The same technique, the same tools – ink, inkstone, brush and paper – to achieve a pictorial “automatism” based on perception, on intuition and on the unconscious to perceive, to use again a term from ontology, the forces of intentionality, which are at the very base of our Being and which have to do with possibilities. Automatism here is understood as an instrument to add chance, spontaneity and flux to the artwork. However, the flow of ink in her script is ultimately controlled. Oan Kyu creates a pictorial equivalent of man’s perception and intuition of his complex inner self. Lines and points do not form a static image but embody a vibration, an abstract and at the same time bodily composition like a musical composition.

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Sunsoo Kim: Stillness in the Heart

Galerie Pici is pleased to present its first solo exhibition of Sunsoo Kim (b. 1963), Stillness in the Heart, on view from December 9th through December 16th, 2021. This exhibition follows Kim’s recent landscape paintings, set in a rural village in Gokseong, Jeollanam-do, where Kim spent his childhood. Kim’s delicate landscapes are entirely imaginary. He relies on fragments of memories rather than being on site to produce them. The focus in these works seem to be the time of day where it could be either early mornings before sunrise, or just before the sun sets, capturing the stillness of a fleeting moment.  

His subjects are interpretive reflections of his present surroundings connected with his memory of the forest, trees, and wildflowers, enveloped by a familiar fog off the river. The remaining impression from the past appears on canvas to reflect not only his interest in nature’s beauty but also it’s transcendent, healing and meditative qualities.  

Kim uses oil paints but his works on canvas emphasize the flatness where almost no texture can be seen. He developed an extremely subtle, realist technique for depicting light and weather. Oil paint colors look soaked onto the canvas like a print. At first glance, the viewer could mistake his painting as a photograph. Kim uses a thin brush to draw outlines incorporating Eastern drawing techniques.

Sunsoo Kim was born in Gokseong, Jellanam-do, Korea and received his BFA and MFA from the School of Fine Arts at Hongik University, Seoul. He works and lives in Seoul. 

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