top of page



"I want people to understand my artwork so that even after I’m gone from this Earth, memories of me will still be around."

- Kwang Young Chun


Landau Contemporary is proud to present a solo online exhibition of works by celebrated Korean artist Kwang Young Chun whose 

Aggregations seep into the imagination and reinterpret the history of a cultural ancestry through a modern and personalized perspective. 

Kwang Young Chun's work is rooted in the cultural history of his native Korea. Born in 1944, in Hongchun, South Korea, Chun was just a boy when the Japanese occupation ended, and the Korean war began. The brutality and destruction young Chun witnessed impacted the artist's worldview, and he turned to America as the embodiment of liberty, integrity, peace and prosperity. 


After he completed his Bachelor's degree at Hong-Ik University, Chun moved to the United States to pursue a Master’s degree in painting at the Philadelphia College of Art. As he puts it, his twenties, "were all about America. The thin young man from a distant country was suddenly a social, ideological alien in a new world." 

In Philadelphia, Chun immersed himself in the creative culture and freedom afforded by western education but became increasingly disillusioned by a consumerist culture seemingly immune to the carnage of the Vietnam War and the economic divide that followed. America now seemed self-obsessed and complacent.


Although the budding artist understood and appreciated the expressive and prevailing artistic practices of the day, Pop Art and Minimalism among others, he felt more aligned with Abstract Expressionism which, "seemed to be the best way to freely express my surprise and sadness at witnessing the huge gap between idea and reality."


Abstract Expressionism allowed Chun to experiment freely with the formal means to convey the "chaos and struggles of the world I lived in" without the impeding expectations of Korean teachings ossified by centuries of tradition, which Chun felt "censored the artistic imagination."

"I wanted to express the conflicts that were happening between people and between the past, present, and future, though subtly hidden behind a dangerous harmony. Abstract Expressionism was the answer to my problem."

- Kwang Young Chun 


ONT-016, 1986 (Photo property of the Mori Arts Center)

Chun's Abstract Expressionist works from the 70s and 80s are a triumph of process more than execution. He covered the pictorial surface with strips of paper or tape, then dripped mixed printing pigment over them before removing the strips. The resulting geometric abstractions presaged the Aggregations developed 15 years later, works which are now universally celebrated for their individuality and expressive range. 


Despite favourable reviews with shows at the Holly Solomon and Lotus galleries in New York around this time, Chun considered himself to be a fraud. "I began to feel a sense of shame that I might remain a second-rate artist, as my artistic philosophy and method were borrowed ones," he wrote. "The image of cursed artists endlessly painting second-rate imitations in a gloomy studio started to haunt and devastate me."

Chun returned to Korea in 1977, still searching for more personal essence and purpose in his work. He dissected the notion of meaning and expression through art that addressed individual, collective and metaphysical concepts but could think of no feasible alternative to Abstract Expressionism in the contemporary or international art scene. Yet, he was determined to create art that genuinely reflected his cultural heritage without being restrained by its tradition: "How can I, as a Korean artist, create my own original style?"


"I think the first thing I saw was my mother's face, and then there was mulberry paper. The paper is not just for writing and drawing, but is like the spirit and soul of Koreans."

- Kwang Young Chun 

Then, in the spring of 1995, after almost 20 years as a successful Abstract Expressionist painter, a brief illness led to the inspiration he was searching for. Bedridden with the flu, Chun's wife returned home with Chinese herbs and medicines delicately wrapped in a thin paper. The touch of the medication through the paper prompted a flood of childhood memories.

"When I was young," Chun recalls. "I was a sickly child, and my mother used to take me to a doctor in the neighbourhood. I never liked the place because of the strong odor from the infusions, and the threatening sight of acupuncture needles. While the doctor felt my pulse, muttering something to himself, my mother held my hand, and I fixed my eyes on the ceiling: numerous packages of mulberry paper were hanging from the ceiling, each with a name card of the medicine wrapped inside. The image of my old memories of the drugstore lasted in my head for a while."



Mixed media on Korean Mulberry paper

118 x 92 cm.


What emerged from Chun's nostalgia was a new and distinctly Korean motif and method of working. The artist moved from two-dimensional paintings to three-dimensional trompe l'oeil assemblages made up of triangular Styrofoam shapes wrapped in the traditional Korean Mulberry paper, or hanji, that are then bound with a string or 'thread' made of the same paper and collated into a wall-mounted or freestanding frame, a nod to the medicine containers that hung from his doctor's ceiling.


The transition may have reflected the artist's desire to approach and inform his art "through a Korean sentiment," but as Fumio Nanjo, Director of the More Art Museum, noted, it was also "an experiment in how to stage a particular culture in the arena of international expression, create a bridge to modernism and postmodernism, and acquire the right for it to participate as a universal language." In essence, Chun's new works were a means of conflating the past and present, of conveying a unique cultural history in a contemporary context.


Mixed media with Korean Mulberry paper

92 x 118 cm.


REF 3131


Hanji, a distinctive Mulberry-pulp paper used by most Korean book printers until the 1930s, remains at the core of Chun's artistic practice, the material expression of his imagination. More than a childhood association, Mulberry paper is part of the Korean ethos and identity; it has been used for centuries for writing, printing, painting, but also to line walls, floors, as packaging and for weatherproofing. As the artist says, "For me, hanji represents Korea, my ancestors, the Korean spirit."


Sourced from indigenous trees and prized for its strength and water-resistance, Chun carefully selects his paper from older, scholarly books and manuscripts that he collects and stores in air-conditioned warehouses. He has accumulated more than 20,000 historical texts, some of which span centuries, that were produced using printing methods that have remained virtually unchanged since the thirteen century.

Moreover, the old sheets retain the imprint of those who have touched it over generations, which adds a spiritual dimension to his practice. "I can't use new paper," he told the New York Times ahead of a 2006 exhibition of his work. "For me, the old paper has a life, a history. It contains the soul of the people who touched it. In a way, I'm wrapping the stories of people's lives."

“By choosing old hanji book pages Chun makes his Aggregations emphatically Korean, emphatically personal and emphatically nostalgic.”


– Joan M. Cummins, Curator,  Brooklyn Museum


Many Korean artists have paid homage to their culture by incorporating hanji into their art, mostly through watercolours or painting. Yet, the method in which Chun chose to handle Mulberry paper was unparalleled and allowed him to create brooding landscapes that fuse sculpture, painting and language.

He chose to fold the paper in an East Asian manner, using it as bojagi or wrapping cloth, a practice that dates back to the early Choson Dynasty (around 1392) where the edges of the paper folds run diagonally across the parcel. It is a fastidious process that was used to carry and store objects, "where both merchants and gift-givers take great pains to make sure that the attractive presentation of goods or gifts expresses an extra measure of regard for the recipient," noted Joan M. Cummins, Senior curator of Asian Art at the Brooklyn Museum. 



Mixed media with Korean Mulberry paper

135 x 115 cm.


REF 821

Chun unifies thousands of delicately wrapped triangles using this Zen-like process to create his AggregationsWith subtle gradations of size and hue, the various bojagi are affixed to a frame in an intricate arrangement that generates patterns so rich and textured that they transform into ethereal lunar landscapes or crystalline formations that seem to burst from their center;  dynamic works that harmonize traditional process with modern expression. 

Aggregation16 -AU063

Mixed media with Korean Mulberry paper

155 x 125 cm.


REF 3265

Chun 3265 Aggregation16-AU063.jpg

Chun's work owes a formal or strategic debt to Minimalism and Colour Field painting, notably in their near-obsessive repetition of form, the underlying grid-like structure, simple geometric shapes, the subtle tonal gradations or single hue, and their numeric titles. The artist himself has compared the vivid scapes and dynamic, grid-like structures of his Aggregations to the gestural brushwork of his Abstract Expressionist paintings.

However, Ann Landi, curator of the 2009 Kwang Young Chun exhibition at the Mori Arts Museum astutely noted that Chun's "works are really far too rich in allusion to fit neatly into a movement that by and large despised any romantic or associative impulses on the part of the artist." 


"For all their Korean sentiment, the Aggregations are also replete with references to the modernist canon with its largely Western foundations, the canon that Chun engaged throughout his early career as a painter."

- Joan M. Cummins

Shaped by his early art education and the aesthetics of modernism, Chun's works are also deeply rooted in the Korean cultural fabric. They are the amalgamation of different histories, languages and texts and the synthesis of a distinct vision and process; they are the aggregation of every soul who has touched the hanji embedded in his work, including the artist before it becomes a fully realized creation: "My fingers are the last ones to touch it, it closes a chapter," Chun has said. His works exist outside any specific artistic convention and communicate in a language that is wholly personal yet universally understood. 


Aggregation16 -SE076

Mixed media with Korean Mulberry paper

151 x 151 cm.



The Aggregations are products of modernity, a nation's literary and intellectual history is transcribed across the artist's narrative landscapes, and the philosophy and wisdom of Chun's forebears are elevated and reinvented in the artist's hands. As Korean, or Hangul, characters are bundled unevenly alongside the more formal and traditional Chinese characters, the artist creates new meanings; knowledge is reborn. "The fragmentary passages of text on the wrappers are like voices in a crowd hoping to be heard but mostly cancelling one another out," noted Cummins. "The voices that emerge will be pieced together to create knowledge." 


Mixed media with Korean Mulberry paper

151 x 151 cm.



The jostling of voices is how Chun articulates his philosophical view of the world. "By attaching these pieces one by one to a two-dimensional surface, I wanted to express how the basic units of information can create harmony and conflict with each other," he wrote. "This became an important milestone in my long artistic journey to express the troubles of modern man, who is driven to a devastated life by materialism, endless competition, conflicts and destruction. After almost twenty years, I was now able to communicate with my own gestures and words."

"The writers who Chun includes become his collaborators in a sense; their words and theories become part of his work, and further reflect the great weight he places on the concept of language as a tool of communication overall. "

- Eric Shiner, The Andy Warhol Museum


Standing before one of these deeply intricate works, the viewer is at first struck by the jagged surfaces of the primordial urbanscapes that exist somewhere between modern painting and sculpture. Chun is a master of colour, though his range is not vast, and the subdued or dramatic hues pulsate with energy.


On closer inspection, some will recognize the interplay of Hangul and Chinese characters printed on the distinctive tea-stained Mulberry paper. For those viewers, Chun's Aggregations erupt in a cacophony of intellectual and historical voices. Those unable to decipher the characters are equally drawn into Chun's sculptural narrative and feel a sense of harmony despite the chaotic overflow information. 

"It would be rewarding for me if, in 100 year's time, future generations saw me as an artist who reinterpreted the stories of our ancestors from a modern perspective."

- Kwang Young Chun

Chun has said that his artistic aim was to "tell the story of my culture." The artist has achieved and surpassed that goal. He has coalesced his personal history, his existential philosophy, his cultural identity and Art History into strikingly beautiful compositions; he has reconciled past and future in establishing an artistic legacy that is increasingly difficult to achieve. 


Aggregation16-AP043 (STAR11)

Mixed media with Korean Mulberry paper

160 cm. diameter


"A great artist, especially in an art world that is increasingly global in its reach," Landi wrote, "must of necessity transcend the narrowness of the traditions on which it initially draws. The work needs broader appeal if it is to have any sort of staying power, and as Chun's critics and collectors have recognized, he has indeed found a language that speaks on many levels and in universal terms."

Aggregation16-JA010 (STAR2)

Mixed media with Korean Mulberry paper

160 cm. diameter



From his days as an Abstract Expressionist to the works he continues to produce today, Chun's career has spanned over 50 years. Among his many awards and achievements, in 2009, he won the Presidential Prize at the 41st Korean Culture and Art Prize, awarded by the Ministry of Culture, Sports and Tourism. In 2001, he was named Artist of the year by the National Museum of Contemporary Art in Seoul. 


He has exhibited extensively at gallery and museums around the world, including the Brooklyn Museum of Art, New York; Mori Arts Museum, Tokyo; The National Museum of Contemporary Art, Seoul; The National Museum of Contemporary Art, Gwacheon; The Columbus Museum, Georgia; and The Wooyang Museum of Contemporary Art, Gyeongju, South Korea. 

Chun has already established his artistic legacy. His works are included in the permanents collections of the Victoria & Albert Museum, London; The Seoul National University Museum of Art, Seoul; Museum Kunstwerk, Germany; Woodrow Wilson International Center, Washington D.C; Malta National Museum, Malta; Yale University Art Gallery, Connecticut; Columbia University of Law, New York; The Busan Metropolitan Art Museum, Busan; and the Rockefeller Foundation, New York. 


 Chun's 2019 Exhibition at the Brooklyn Museum  (Photo by Jonathan Dorado)


Photo property of the Artist's studio

Artist Biography

b. 1944

After starting his artistic career studying western painting, in particular Abstract Expressionism, Kwang Young Chun turned to the Mulberry paper as a way to express his unique, Korean artistic voice.

The papers, taken from books that are often a hundred years old, have been touched by people from all walks of life. Over the years, these people – men and women, young and old – have left indelible fingerprints. Chun captures the spirit of these people and their varied voices in his series of Aggregations, a series he started working on in the 1990s. Today, he is recognized internationally for these sculptural forms.


The basis of his work is individual, triangular, Styrofoam shapes. Individually, these shapes are minuscule. Taken together, however, their visual impact is immense. This concept of the aggregate is what informs Chun’s work. The Styrofoam shapes are covered in Korean mulberry paper. In Korea, the paper is a mainstay and has many utilitarian uses from floor and window coverings to candy and medicinal wrappers.

It also resonates with personal meaning for the artist, who recalls trips to a herbalist as a small child. Medicines wrapped in Mulberry paper hung from the ceiling of the shop, the paper protecting the contents from dampness and insects. Chun uses pages recycled from old books to cover the geometric forms. These pages are covered in Korean and Chinese characters, adding another layer of cultural and personal meaning. He hand-ties the paper over each shape, twisting pages into a string to complete the wrapping. In this way, Chun integrates traditional materials into a contemporary context.

Select Solo Exhibitions

2019-20 Sundaram Tagore Gallery Singapore

2019-20 Jordan Schnitzer Museum of Art

2019 Beck & Eggeling, Dusseldorf

2018-19 Brooklyn Museum

2018 PKM Gallery, Seoul, Korea

2018 Sundaram Tagore Gallery, NY, USA

2017 Museum de Reede

2017 2019 Beck & Eggeling, Vienna

2017 Pearl Lam Galleries

2017 Boghossian Foundation, Brussels

2016 Retrospective, Wooyang Museum of Contemporary Art, Gyeongju, Korea

2014 Bernard Jacobson Gallery, London

2014 Hasted Kraeutler Gallery, New York 

2013 Museum of Art Seoul National University

2013 Assemblage--Singapore Art Plural Gallery

2012 Design Futurology--Museum of Art Seoul National University

2012 Aggregation: Paper Sculpture --Towson University Asian Art Center

2012 Hasted Kraeutler Gallery, New York

2012 Surface: Die Poesie Des Materials--Museum Kunstwerk2012 Aggregations-- Daura Gallery--Lynchburg College, Virginia

2012 Towson University Museum, MarylandLynchburg College Daura Museum, VirginiaToday Art Museum, Beijing

2011 Knoxville Museum of Art, Tennessee

2010 National Art Museum of China, Beijing

2009 Mori Arts Center, Tokyo, Japan

University of Wyoming Art Museum, Laramie, Wyoming

Singapore Tyler Print Institute, Singapore

2008 The Aldrich Contemporary Art Museum, Connecticut

Robert Miller Gallery, New York

2007 The Columns Gallery, Seoul

2006 Kim Foster Gallery, New York

Michelle Rosenfeld Gallery, New York

Singapore Tyler Print Institute, Singapore

Annely Juda Fine Art, London

2005 Kukje Gallery, Seoul

2004 Kim Foster Gallery, New York

Michelle Rosenfeld Gallery, New York

2003 Conny Dietzschold Gallery, Sydney Newcontemporaries, Sydney

2002 Columbus Museum, Columbus, Georgia

Kim Foster Gallery, New Youk

Michell Rosenfield Gallery, New York

Kukje Gallery, Seoul

2001 "2001 The Artist of this year,” The National Museum of Contemporary Art, Seoul

2000 Michelle Rosenfeld Gallery, New York

Commenoz Gallery, Key Biscayne, FL

Kim Foster Gallery, New York

1999 Park Ryu-Sook Gallery, Seoul

Kim Foster Gallery, New York

1998 Gallery SiKong, Taegu

1997 Gallery Bhak, Seoul

1995 Gallery Bhak, Seoul

1994 Jong Ro Gallery, Seoul

1992 Gallery Hyundai, Seoul

1990 Gallery Dong Sung Arts Center, Seoul

1989 Gallery Yoon, Seoul

1988 Gallery Hyundai, Seoul

1987 Kwan Hoon Gallery, Seoul

1986 Sirota Gallery, Tokyo

1985 Kamakura Gallery, Tokyo

Muramatsu Gallery, Tokyo

1984 Kwan Hoon Gallery, Seoul

1980 American Cultural Center Gallery, Seoul

1979 Malta National Museum, Saint Julian, Malta

Lotus Gallery, New York

1977 Shin Sea Gea Gallery, Seoul

1976 Fifth St. Gallery, Wilmington, Delaware

1976 Fine Art Center, Seoul

1975 Lotus Gallery, New York

1972 Holly Solomon Gallery, New York

1971 International House Gallery, Philadelphia

1968 Seoul Cultural Center Gallery, Seoul


Selected Group Exhibitions

2020 Dep Art Gallery, Milan

2016 Pearl Lam Galleries

2016 Palazzo Grimani Art Museum at Venice Biennale

2009 Moscow Biennial, Moscow

2008 ‘Midnight Full of Stars’, Visual Art Center, New Jersey

‘Undercover Project’, The Aldrich Contemporary Art Museum

2007 ‘Addicted to Paper’, Gallery Lelong, Zurich, Switzerland

2006 “Holland Paper Biennial, ”CODA Museum, Apeldoorn, The Netherlands (concurrently viewed at the Museum Rijswijk)

2005 “2005 Seoul Art Exhibition,” Seoul Museum of Art, Seoul

2004 “The Art Scene in New York” Albright-Knox Art Gallery, Buffalo, New York

“Commemorative Exhibition of Seoul Museum of Art South Branch opening, Seoul Museum of Art, Seoul

“Crossings 2003, Korea/Hawaii”, The Contemporary Museum, Honolulu

“Art Unlimited,” Art 34 Basel, Basel, Switzerland

2001 "Compelled,” Hunterdon Museum of Art, New Jersey

2000 "Dealer's Choice', Robert Kidd Gallery, Michigan

San Francisco Art ExhibitionPark Ryu-Sook Gallery, San Francisco

Gwenda Jay/ Addington Gallery, Chicago

1999 Galerie Die Weisse, Cologne

1998 Galerie Dorothea van der Koelen, Mainz

"Crossing Boundaries", Gallery V, Columbus, Ohio

1996 “Anthology of Contemporary Painting Artists,”

Da Do Gallery, Seoul“Korean Paper-The Origin Esthetics”, Da Do Gallery, Seoul 1995 L.A. International Biennale Invitation, Gallery Bhak-Remba Gallery, L.A

1994 "Korean Paper Works of 3 Artists,” Chong Ro Gallery, Seoul

1993 Asian Art Biennale Bangladesh, Bangladesh Shilpakala Academy, Dhaka

 1987 Seoul-Yokohama Contemporary Artists Exhibition, Gallery of Art Cosmo Center

1986 Yokohama Contemporary Artists Exhibition, The Museum of Yokohama

1985 ISPPA, Walker Hill Museum, Seoul

1984 '84 ISPPA-HUKUOKA, The Museum of Fukuoka, Fukuoka

"Ecole de Seoul,” The National Museum of Modern Art, Seoul Korea

Today's Artists Exhibition, Kwan Hoon Gallery, Seoul

1977 The Invited Show 2 Contemporary Artists, Fifth St. Gallery, Wilmington, Delaware

1976 The Invited Exhibition Contemporary Artists, University of Delaware Museum, Delaware

The Invited Exhibition Lotus 10 Artists, Lotus Gallery, New York

The Invited Exhibition Contemporary Artists, Baulchie Institute Museum

1975 Woodmere Gallery, Philadelphia

Wanamaker Gallery, Philadelphia

William Penn Memorial Museum, Harrisburg

1974 The 24th Cheltenham Art Exhibition, Cheltenham Art Center, Cheltenham

Drexel University Museum, Philadelphia

1973 Civic Center Museum, Philadelphia

Earth Art Modern II Art Exhibition, Civic Center Museum, Philadelphia

1971-78 National Forum of Professional Artists Show Philadelphia, Philadelphia

Civic Center Museum, Philadelphia

1966-68 Korean Contemporary Artists Invited Exhibition, The Chosun Il-Bo Press Group, Seoul

1966-67 The Shin Sang Group Show, National Museum of Modern Art, Seoul Awards

Presidential Prize in the 41st Korean Culture and Art Prize, the Ministry of Culture, Sports and Tourism, Seoul, Korea

Chun Kwang Young; Artist of the Year 2001, National Museum of Contemporary Art, Seoul, Korea

Silver Prize in the 27th Cheltenham Art Center Exhibition sponsored by Cheltenham Art Center

Special Prize in the Earth Art II sponsored by Civic Center Museum, Philadelphia

Special Prize in the 18th Korean National Art’s Exhibition sponsored by the Korean Culture and Arts Foundation, Seoul, Korea

Korean Contemporary Artist’s Invited Exhibition Special Prize, held by Chosun Press Group, National Museum of Modern Art, Seoul, Korea

Special Prize in the 5th, 6th Shin Sang Group Exhibition, held by Shin Sang Group, National Museum of Modern Art, Korea

Selected Public Collections

Victoria & Albert Museum, London

Woodrow Wilson International Center, Washington D.C.

University of Virginia Art Museum, Charlottesville, Virginia

United Nations headquarters, New York

National Museum of Contemporary Art, Seoul

The Leeum, Samsung Museum, Seoul Hansol Foundation of Culture, Seoul

Malta National Museum, Saint Julian, Malta

The Museum of Hong-Ik University, Seoul

Columbia University of Law, New York

Seoul Museum of Art, Seoul

Busan Metropolitan Art Museum, Busan

National Gallery of Australia at Canberra, Canberra

Chase Manhattan Bank, New York

Fidelity Investments Boston, Boston

Rockefeller Foundation, New York

William Penn Memorial Museum, Philadelphia

Philadelphia Society Building, Philadelphia

The National Military Academy, Seoul

Seoul 63 Building, Seoul

Pak Young Sa Publishing Co, Seoul LG Group, Seoul

Woong-Jin Group, Seoul

Sea Ah Group, Seoul

Hotel Shilla, Seoul

Chosun Hotel, GyeongjuHan Wha Corp., Seoul

Lake Hills Country Club, Su Won, Korea

Il Shin Spinning Co., Seoul

Yu Yu Ind. Ltd., Seoul

Syn Key Group, Seoul

Seo Heung Metal Co., Seoul

Sa Jo Corp., Seoul

Dong Yang Tinplate Corp, Seoul

Seo Won Valley Country Club, Song-Chou, Korea

Codina Group Inc., Coral Gables

Neiman Marcus Department Store, Dallas

Jackson Consulting Corp., Coral Gables

International Finance Corp., Washington, DC

Continental-Bental L. L.C., Bellevue, Washington

Rosewood Stone Group, Mill Valley, CA

Lattanzio E Associati SRL, Milan

Tita and Gene Zeffren, Chicago

Potash Corporation-USA Headquarters, Chicago

Oracle Corporation, NY


Important Private Collections

David Bassford, USA

Franklin Silverstone, NY

Frank & Barbara Peters, USA

Larry & Hazel Rosen, USA

Marla Prather / Senior Curator, Whitney Museum of American Art, NY

Bruce & Judith Eisner, USA

Dorothy Lemelson, USA

Michelle & Herbert Rosenfeld, USA

Bennett Lebow, USA

Gina Barroso, MEXICO

Victor Barnett (Chairman of Burberry’s), UK

Leon Black

Robert Shaye

David Blei

Werner and Ingrid Welle

Eyal Ofer


Aggregation16-SE076 at Landau Contemporary

We thank you for visiting our online exhibition. Please contact the gallery to find out more about this exceptional artist.

bottom of page