Education
Graduate School of Painting, Keimyung University BA in Western Painting, Daegu University of Arts
Career
2008 Park Youngdeck Gallery, Seoul 2006 Park Youngdeck Gallery, Seoul 2004 Shinsegae Gallery, Gwangju 2004 Gallery Songadang, Daegu 2003 Gamo Gallery, Seoul 2003 Gallery Songadang, Daegu 2002 Daejeon Museum of Art, Daejeon 2002 Daeback Plaza Gallery, Daegu 2002 Gallery La Mer, Seoul 2000 Daeback Plaza Gallery, Daegu Group Exhibition and FLOWERS, Gyesoon Gallery, Busan Art & Joey, Insa Gallery, Seoul Seoul Open Art Fair, Park Youngdeck Gallery, COEX, Seoul KCAF (Korean Contemporary Art Festival) Ⅸ, Seoul Arts Center, Seoul KIAF, Gallery Bhak, COEX, Seoul Daegu Art Fair, Park Youngdeck Gallery, Exco, Daegu Hwarang Art Festival, Gallery Bhakdong, BEXCO, Busan Seoul Open Art Fair, Park Youngdeck Gallery, COEX, Seoul KCAF (Korean Contemporary Art Festival) Ⅸ, Seoul Arts Center, Seoul At the flower field, 63 Sky Art Museum, Seoul Daegu Art Fair, Park Youngdeck Gallery, Exco, Daegu The story of April, Park Young-duk Gallery, Seoul Sound of Nature, Park Young-duk Gallery, Seoul Hwarang Art Festival, Gallery Bhakdong, BEXCO, Busan KCAF (Korean Contemporary Art Festival) VIII, Seoul Arts Center, Seoul KIAF, Gallery Bhak, COEX, Seoul Seoul Open Art Fair, Park Youngdeck Gallery, COEX, Seoul Hwarang Art Festival, Dongwon Gallery, Seoul Arts Center, Seoul Lotte Art Fair, Lotte Gallery, Busan KAMI's Choice - Best of Best 20, Insa Art Center, Seoul Art Auction Show, Seoul Auction, COEX, Seoul Reality & Unreality, Park Young-duk Gallery, Seoul Critical view - Until recently, from Insa Art Center, Seoul Korean luxury goods - The Status of Korean Art, Shin Sang Gallery, Seoul Red & Blue - View on the Surface, Insa Art Center, Seoul KCAF (Korean Contemporary Art Festival) VII, Seoul Arts Center, Seoul Art Friends, Light Gallery, Seoul Invited Exhibition of 10 Young Artists, Chosun Gallery, Seoul Open the Nature, Gallery NV, Seoul Flower Break !, Light Gallery, Seoul Shadows catching light, Gallery DA, Seoul HD Picture, Daegu Bank Gallery, Daegu Korea Youth Biennale, Culture and Arts Center, Daegu Art Nimes Grenoble, Al Expo, France KCAF (Korean Contemporary Art Festival) VI, Seoul Arts Center, Seoul Strasbourg Art Fair, Park des Expo, France Art Istanbul, ICEC, Turkey Christmas Tree Road, Gallery Bow, Ulsan KIAF, Songa Gallery, COEX, Seoul Digital Sense & Sensation, Philo Gallery, Daegu Spring Light Excursion, Light Gallery, Seoul The Box Show, Gallery M, Daegu / Lads Gallery, Osaka, Japan Art and Soul, Cairo Art Museum, Cairo, Egypt Osaka Art Fair, ATC Trade Center, Osaka, Japan KCAF (Korean Contemporary Art Festival) Ⅴ, Seoul Arts Center, Seoul Reproduction and Implementation, Culture and Arts Center, Daegu Daegu and Gwangju New Vision Seeking, Daeback Plaza Gallery, Shinsegae Department Store Planning, Daegu Daejeon MBC Changsha 40th Anniversary Special Exhibition, Daejeon Museum of Art, Daejeon Communication of Korean Art, Danwon Museum, Ansan Diffusion of existence and fiction, Daeback Plaza Gallery, Daegu Art Seoul, Seoul Arts Center, Seoul Daegu Art Expo, Songa Gallery, Culture and Arts Center, Daegu Member of Writers Association Member of Korea Art Association
Awards career
Grand Prize, MBC Kumgang Art Competition, etc. 3 times Excellence Prize, Daegu Metropolitan City Art Competition 2 times 9 special exhibitions including Danwon Art Competition Screen reader support enabled.   Grand Prize, MBC Kumgang Art Competition, etc. 3 times Excellence Prize, Daegu Metropolitan City Art Competition 2 times 9 special exhibitions including Danwon Art Competition
Chang Ki Young (Professor, Department of Western Painting at Daegu Arts University) Painting and Reality Fisher's says that the purpose of art is to create beauty. Therefore, art is a mimic of reality, and at most, it has a motive in reality and it is said to transform and modify it to make it beautiful. The first thing that comes to mind when dealing with Chang's paintings is this concept of reality related to painting. In a way, Fisher seems to consider reality too restrictively. In other words, Fischer gives the impression that painting is merely a reflection of the reality of nature, which is a devaluation. However, considering Tenne's statement that artists use reality, they choose reality, and furthermore explain and interpret reality, one feels somewhat comfortable. Artists should be ready for visible and invisible objects to receive light (Tagore) Confusion or recreation of reality But the problem with Chang's painting stems from the fact that the origin of 'real' is not nature, but the mechanism of photography. In other words, he intentionally and positively introduces photographic reality in selecting and using reality. Painting and photography have been highly complex in the development of Western art from modern to contemporary times. Photographs copied the paintings at first, but gradually the paintings copied them or at least applied the benefits of photography. Impressionists who loved the instantness photographu, uses it as an object as a means of social speech. Photographs have already become one of the most important concepts in the discussion of painting, until the ideology, and pop art and phonetics, which brought pictures and print media to the screen at face value. In fact, Paik Nam-joon's video art is no different from borrowing an evolved photo mechanism. This attraction was not so surprising or awkward. Now the artist's choice is not directly observed nature but 'natural image' filtered through photos, and they are also creating a whole new reality consisting of a variety of camera networks, including telescope lenses. Pleasure of the eyes Chang also accommodates this type of work, but it can be said that his own quest to explore the possibilities is largely experimental. What we should be interested in in his paintings is not the sophistication of the detailed description or phenomenon, but the bold presentation of the aesthetic dimension of camera, the attempt to make it as conversational transformation. People are sensitive to 'real' things, but artists are producing 'good' in a deeper sense. An artist can choose and present reality in his own way. As most writers experienced in school and students now do, Chang may believe that a faithful reproduction of an object is the essence of an artist. But while he has a unique attachment to the conquest of visible reality, he shows an attempt to capture the non-visual reality in it. He makes a gesture that seems more conscious of the "construction of pictorial facts" rather than "reorganization of the present" with the poetic image of Imagery, which seems to be passing by. In other words, he is showing his willingness to accept his picture "reality" with confidence, but never to remain in the superficial copy. But as Constable once warned of "foolishness in imitation" and "superiority of" his work can only be underestimated if we are attracted to stay there. Descriptive conversation is a way of saying what the artist saw or felt inside. Hopefully, however, Chang should not settle for what he has already experienced, a form that has worn away with too much use, that is simply repetition and depleting expression. Furthermore, it would be better to show practicality that painting is not a physical phenomenon but a way to express the light present in the artist's brain.