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금호미술관

작가소개

KANG Cheolgyu / 22nd (2024)

KANG Cheolgyu

cheolgyukang@gmail.com​


2019    MFA Fine Arts, Hannam University
2015    BFA Painting, Hannam University


Solo Exhibitions
2024    Perfect Body Perfect Soul, Gallery IN HQ, Seoul
2022    Sinking Body, Chapter II, Seoul
2022    Hoppipolla, Art Space 128, Daejeon
2021    Collection of Short Stories: Not to Die, M2 Project-room, Lee Ungno Museum, Daejeon
2020    Go to the Wood, Artist Residency TEMI, Daejeon
2018    Eva, Gallery Gabi, Seoul


Selected Exhibitions
2024    Landing Point, ARARIO GALLERY Seoul, Seoul
2023    Threeperson Match Part 2, Art Space 128, Daejeon
2023    ​Human Class: Floating Souls, Art Space IAa, Jeju
2023    Zero Gravity, Doonamjae Art Center, Seoul
2022    The Flexible Boundaries, Gallery Baton, Seoul
2022    Better Not to Be Named, Chapter II, Seoul
2021    Loss, Everything That Happened to Me, Daejeon Museum of Art, Daejeon
2021    Abandoned, Daejeon Sejong Research Institute, Daejeon
2019    Naver On Stage X: Sound PlayNaver Foundation, Rayer57, Seoul
2018    Farewell, Daejeon Museum of Art, Daejeon
2017    Our Journey, Galley Gabi, Seoul
2016    Exit, Alternative Space NOON, Suwon
2015    Show Case-Review, Gallery Gwang, Sejong Center, Seoul 
 
​Residencies​
2023-25    The 10th Studio White Block, Cheonan
2021-22    The 5th Chapter II Residency, Seoul
2020-21    The 7th Artist Residency TEMI, Daejeon

Cheolgyu Kang presents narrative paintings where reality and fiction intersect, drawing from his autobiographical experiences. He projects inner conflicts onto specific subjects, reconstructing them through symbolic imagery that reflects his psyche and offers refuge from anxiety. His early works depicted dissolving figures in desolate settings, symbolizing self-loathing and powerlessness, while later works show them as active agents. In his exhibition Projection Note, Kang explores existential anxiety through the contrasting motifs of the “stranger” and the “predator.” Hybrid human-animal figures symbolize his fragmented self, revealing inner turmoil. No longer passive, they engage in primal acts like logging and hunting, confronting fears and reclaiming agency. Drawing on mythological allegory and classical painting, Kang extends beyond personal experience to explore universal themes of anxiety, self-discovery, and identity amid uncertainty