Education
1999 Received a B.A. in Fine Art at Yeung-Nam University, Korea 2004 Received a M.A. in Fine Art at Graduate School of Yeung-Nam University, Korea 2008 M.A. in Fine Art, Young-nam University, Korea 2014 Presently Pursuing PhD in Fine Art at Yeung-Nan U
Career
Individual exhibition 2023 Great Legacy, Sowon Gallery,Incheon Great Legacy, Choi Jeong-ah Gallery, Seoul 2022 great Legacy, cmgg LOUNGE,Seoul Great Legacy, Bona Gallery, Daegu 2021 Great Legacy, Space Independence, Daegu 2019 Gallery. Today, Daegu Gallery, Yeongcheon 2018 Bongsan Cultural Center, Daegu 2017 Bongsan Cultural Center, Daegu 2015 Bongsan Cultural Center, Daegu 2014 “The Diminished Virtue”, New York, USA (solo exhibition) 2013 Scope Art Show, Miami, U.S.A. 2013 “The Body of the Current,” Daegu Art Museum, Daegu, Korea 2012 Bongsan Cultural Center, Daegu, Korea (solo exhibition) 2011 Gallery Bundo, Daegu, Korea (solo exhibition) 2010 “Beyond the Type of Format” Form Gallery, Busan, Korea 2009 “Korea Tomorrow,” SETEC, Seoul, Korea 2009 "Korean Eye Moon Generation Exhibition,” Saatchi Gallery, London, United Kingdom 2009 The 9th Ha jun-woong Young Artists Inviatition Exhibition, Gwangju, Korean (solo exhibition) 2009 “The 9th Young Artists Invitation Exhibition,”Gwangju Museum of Art, Gwangju, Korea 2009 Escape from Emergence, Gallery Somi, Seoul, Korea (solo) 2009 Korea Tomorrow, SETEC, Seoul, Korea 2009 Korean Eye Moon Generation Exhibition, Saatchi Gallery, London, UK 2009 The 9th Ha jung-woong Young Artists Invitation Exhibition,Gwangju Museum of Art, Gwangju, Korea 2008 Escape from daily life, Gallery YeaSul SaLang, Daegu, Korea (solo) 2008 Nord Art 2008 KIC International Exhibition, Carlshuette GmbH. Hamburg Buedelsdorf, Germany 2008 “Nord Art 2008 KIC International Exhibition,” Carlshuette GmbH. Hamburg Buedelsdorf, Germany 2008 Gallery Somi, Seoul, Korea (solo exhibition) 2007 “Grosse Kunstausstellung,” KUNST HALLE e.V., Germany 2007 Grosse Kunstausstellung, KUNST HALLE e.V., Germany 2006 Escape from Emergence, Gallery Maek-Hyang, Daegu, Korea (solo) 2006 Seoul Art Fair Special Exhibition- 2006 Best top 10, Seoul Arts center, Seoul, Korea 2006 “Seoul Art Fair Special Exhibition- 2006 Best top 10,” Seoul Arts center, Seoul, Korea 2005 “Vision & Perspective,” Busan Metropolitan Art Museum, Busan, Korea 2005 “Art Cologne 2005,” Messe Cologne, Germany 2005 “China International Gallery Exposition 2005,” Beijing Expo-China World Trade Center, Beijing, China 2005 “Contemporary Art Exhibition,” Nagasaki, Japan 2005 Escape from Emergence, Daegu Culture & Art Center, Daegu, Korea (solo) 2005 Vision & Perspective, Busan Metropolitan Art Museum, Busan, Korea 2005 Art Cologne 2005, Messe Cologne, Germany 2005 China International Gallery Exposition 2005, Beijing Expo-China World Trade Center, Beijing, China 2005 Contemporary Art Exhibition, Nagasaki, Japan 2004 Escape from Emergence, Hangisook Gallery, Daegu, Korea (solo) 2002 Escape from Emergence, Space129, Daegu, Korea (solo) 1998 Escape from Emergence, Yeung -Nam University, Kyung-san, Korea (solo)
Awards career
Awards 2005, Young Artist Award of the Year, Daegu Culture and Arts Center 2009, Ha Jung Woong Young, Artist Award, Gwangju Museum of Art 2003, Winner of the Central Art Competition Collection National Museum of Contemporary Art, Seoul Loft-H Gallery, Seoul SHIN Gallery,Newyork Kort Jens-Uwe,Germany Daegu Culture and Arts Center Plaza Ophtalmology, Daegu Other more organizations
Kim Young-Dong (Art critic) A series of novels by Choo jong wan. The shocking human figures in his paintings leave a deep impression on the memories of the audience. These images are so stimulating that it is hard to erase once you look at them. The strong impression stems not from paint or color, but rather from its destructive form. The human body becomes more sensitive to its emotions, especially when distorted or damaged in other forms. The harsh violence and signs of abuse on the body often evoke tremors in humans, which suggests that the expression increases with modern art. In this case of the follower, the figure of the male nude in sitting or crouching posture is depicted as being hidden from the upper body by the wrinkled cover which is not expressed. The upper body, replaced by a thin skin or fabric, seems to be covered in a twisted cloth, while taking an unreasonable extension that is connected to the factual description of the remaining limbs. The rest of the area except the limbs is just a scene of debris after the wreckage. Such figures are sometimes clustered in revenge or made and installed like real molds. Various forms of movement are transformed into flat images like silhouette, leading to fantastic views of being up in the air, objects made of three-dimensional sculpture, and variations that produce dramatic scenes. The picture on the upper part of the distorted body conveys the feeling of being severely abused. However, despite its destructive expression, it is not a feeling of directly damaging the flesh of the human body, but rather a feeling of inorganic matter such as post-dermis skin or fragmentation, which makes the body less likely to be cruel. That's because the de facto description of the limbs and the extreme contrast of the parts of the covering of badly crumpled creases at the top prevent him from imagining the organic whole of the human body in his paintings. It is also because even a colorless black and white tone prevents the reproducibility of facts from being seen as unrealistic welcome. So instead of feeling the direct thrill of being in a physical sense, they are seen at a distance. It gives a sense of distance for reflection. The author seems to be conscious of the pretentious exterior covering our or our own character. It would be fair to see his figure as a container of internal consciousness rather than a body that perceives senses from outside. It is a symbol of the inflated mind, in terms of one Persona (face, external attitude), or Jung's term. There is another self, a hidden side of consciousness, Shadow. The character of not having a smooth compromise between the two ends up suffering from a deep sense of identity or mental distress. The writer is complaining of his inner pain. Eventually, the nearly ruptured and false images create a grotesque and terrifying landscape. It is the reality of our lives surrounding him. Therefore, I feel intense internal conflicts and bitter self-criticism rather than the increase of cruelty or fear. Ask how it is possible to throw away its hard shell or make a splendid break.