B.F.A. Dept. of Painting, Seoul National University
M.F.A. Dept. of Painting, Graduate school of Seoul National University

Solo Exhibitions
2020  Ocean Rhapsody (Solunafineart, Hongkong)
          The Light and Grain (Soul Art Space, Busan)
          Artist of AMI (Ami Art Museum, dang-jin)
2018  Between (Soul Art Space, Busan)
2017  Leehwaik Gallery (Seoul, Korea)
2016  Susan Eley Fine Art (New York, USA) 
2015  Soul Art Space (Busan, Korea)
2013  Kenji Taki Gallary (Nagoya, Japan)
2012  Gallery Hyundai, Dugahun (Seoul, Korea)
2011   Gallery Hyundai (Seoul, Korea)
2009 Gallery Hyundai (Seoul, Korea)
          Kenji Taki Gallery (Tokyo, Japan)
2008  Kim Duck Yong, Zadok Bern-David (I-Myu Project, London, UK)
2006  Leehwaik Gallery (Seoul, Korea)
2004  Leehwaik Gallery (Seoul, Korea)
          Hak Go Jae Art Center (Seoul, Korea)
2003  Galerie Hellhof (Kronberg, Germany)
2002  Leehwaik Gallery (Seoul, Korea)
2001  Gong Gallery (Seoul, Korea)

Selected Group Exhibitions
2020  Soaring (Leehwaik Gallery, Seoul, Korea)
2019  Sungnam’s Face: Home (Sungnam Cube Museum of Art, Sungnam, Korea)
          The Allurements of Still-Life (Muan Seungwoo Oh Museum of Art, Muan, Korea)
          Abu Dhabi Art Fair (Abu Dhabi, UAE)
2018  Borrowed Landscape (Woljeon Museum of Art Icheon, Icheon, Korea)
          Autobiographical Love: Beautiful (Gallery Marie, Seoul, Korea)
          My Story (Gallery Joeun, Seoul, Korea)
2017   Korea-UAE Art Exhibition: Woman and Nature (National Theatre, Abu Dhabi, UAE)
          The Secret Garden of Prince Anpyoeng (Zaha Museum, Seoul, Korea)
          Allme invitation Exhibition (Allme Art Space, Seoul, Korea)
          The Sea 海 (Gallery Joeun, Seoul, Korea)
2016   Gallery Joeun (Seoul. Korea)
2015   Antique Furniture and Contemporary Art (Leehwaik Gallery, Seoul, Korea)
          Innumerable Changes: Ceramics In A Picture (Woljeon Museum of Art Icheon,   Icheon, Korea)
          Beauty: Beautiful People (Seoul Museum, Seoul, Korea)
2014   Exhibition of Celebrating for Opening Gallery (D Gallery, Gwangju,Korea)
2013   Figure, Panorama (Jeonbuk Museum of Art, Jeonbuk, Korea)
2012   Exhibition of A True-view Landscape Paintings (Interalia Art Company, Seoul,Korea) 
2011   LEEHWAIK GALLERY 10th Anniversary (Leehwaik Gallery, Seoul, Korea)
2010  Soul of Line (Ungno Lee Museum, Daejeon,Korea)
          In the Midst of the Korean Contemporary Art (Gallery Hyundai, Seoul, Korea)
2009  Exhibition of Traditional and Contemporary Paintings (Kyungwoon Museum of Art, Seoul,Korea)
           Artists and Moon Jars (Gallery Hyundai Gangnam Space, Seoul, Korea)
           The Still: Logical Conversation (Gallery Hyundai, Seoul, Korea)
           Small is Beautiful (Leehwaik Gallery, Seoul, Korea)
2008   Contemporary Artists Preview (Art seasons Gallery, Singapore, Beijing, China)
           Opening Ceremony for AG Gallery (AG Gallery, Seoul, Korea)
2007   Asian Week (Gallery 27, London, UK)
           The central Exhibition of Korean Contemporary Art (Korean Arts Center, Korea)
           Exhibition of faces of Sungnam (Sungnam Arts Center, Korea)
           Exhibition of Today's Four Artists (Sun Gallery, Seoul, Korea)
2006  Paint the literature (Bukchon Art Museum, Seoul, Korea)
2005  Invitational Exhibition of Jebiwool (Jebiwool Art Museum, Gwachon, Korea)
          Exhibition of Korea Poems Contained on the Fans (Seoul Museum of Art, Seoul, Korea)
2004  Painting on Wood (Gallery Cho, Seoul, Korea)
           Exhibition for artist awarded at Dong-A fine art festival (Sang Gallery, Seoul, Korea)
2003   The Exhibition for Life and Humor in Days (Sejong Center, Seoul, Korea)
           Oriental Painting Paradiso (Posco Art Museum, Seoul, Korea)
           Prince and Princess (Gallery Hyundai, Seoul, Korea)
           Celebrating Exhibition for Opening Park Soo Keun Museum (Park Soo Keun Museum, Yanggu, Korea)
2002   Seishin Exhibition (aichi gallery, Nagoya, Japan)
           The 2th Exchange Exhibition of Korea & Japan Art (Gong gallery, Seoul, Korea)
           International Contemporary Art (Sejong Center, Seoul, Korea)
           Grand et Jeunes d'Arjourd'hui (Espace Auteuil, Paris)
           Fellow Artists awarded at Dong-A fine art festival Exhibition (The National 
           Museum of Contemporary Art, Gwacheon, Korea) 
2001   Invitational Exhibition, Celebrating for Opening Gallery (Jebiri Gallery, Gwacheon, Korea)
           The 1st Exchange Exhibition of Korea & Japan Art (Gong Gallery, Seoul, Korea)
           Exhibition of 24 years Ceremony for the Sun Gallery (Sun Gallery, Seoul, Korea)
2000  Korea painting New Millennium Exhibition (Seoul Museum of Art, Seoul, Korea)
          Seoul National University in the New Millennium (Seoul Museum of Art, Seoul,   Korea)
          Dong-A Grand Art Invited Exhibition (Ilmin Museum of Art, Seoul, Korea)

The National Museum of Contemporary Art
Seoul Museum of Art
Park Soo Keun Museum
Kyunggi Province Art Museum
Korea University
Ministry of Foreign Affairs and Trade 
Korean Embassy in Switzerland
Grand Intercontinental Hotel
Daeyang Shipping Co.,Ltd.
Jeju Phoenix Island 
Abu Dhabi Tourism & Culture Authority (ADTCA, UAE)
Emirates Center for Strategic Studies and Research (ECSSR, UAE)
Korea National Maritime Museum
Painting created by Time. Self-revealing Korean Beauty

Temporality of Maturity
The temporal quality in Kim Duck-Yong's art is related to the 'grain.' The grain in his work is an important element that constitutes the texture of his work, but it is also the symbolic reference link to his vested interest in temporality. The wooden grain is a natural given, and is thus beautiful. The natural rhythms of the wood grain is the fundamental core of his work.
There is a wonderful expression in Korean that denotes unwavering consistency, which rejects separation of past, present and future. Time passes by with adequate speed and consistent fluidity, as would the flow of water. If we follow the grain that Kim Duck-Yong has carefully extracted, our sense of time is numbed. There is no need for haste, neither the need to stall. A temporality infused with philosophy that is beyond artifice-let this be known as Koreanness. 

Expansion of Media
As the artist becomes master over his material, he is required to essentially be a craftsman. The craftsman's hands have given life to art in the past as in the present. Rice paper is too delicate a surface to embody the maturing of time, which was why the artist boldly transferred to wood plates. This also caused the artist to embark on the path of the craftsman. The surface had to be ground to a polished surface and aligned in precise parallels. The surface was painted with Danchong palette with stone powder pigments that seeps through the wood. Sometimes mother-of-pearl, egg shells, and gold leaf are attached to the surface with traditional lacquer that requires high degree of sophisticated techniques. Within this process lies the craftsmanship of a painter but also of a mother-of-pearl lacquerware cabinet master, and Danchong painter. The artist works through such processes immersed in a communication with the painting surface.

Painting Space
but the collection of his works as a whole tells that the viewer the artist's true interest lies in space. He paints space that embodies affection and rest. His work was centered on temporality, but has extended into a spatial dimension. With closer inspection, the space problem occupying the artist becomes visible. The painting has been transferred from the rice paper to become a relief, into images extended into an austere architectural space. And thus what is seen on the wood surface is not all there is-it is rather only the facade of his work. The entirety of his painting encompasses a space and it is three dimensional. It cannot be rendered by a two dimensional surface so the artist is representing something that cannot be visualized. 
Chun Young PaikㅣArt Critic
To view works by Kim Duck-Yong is to experience a serene world of contemporary Korean art with a strong representation of traditional culture. From the first encounter, it is evident that Kim’s intent is to smooth, embrace and inspire. The painting onto the carefully and poetically carved old Korean wood panels is spiritually subtle and naturally beautiful.
His paintings consist of a series of various common portraits on prepared piece of wood. the grain of the wood provides an uplifting texture, breathing life into the faces. At time Kim will keep the original trace attached to the wood in his works which has accumulated through the wood and ourselves that allow for the present. 
As the paintings are done on wood, the panels have a mass as if being hung as sculpture for the space it encompasses. This mass also adds to the maturity of Kim’s works which increasingly find their own statement. There seems to be the right balance of creating art and yet respecting the natural state. 
Kim Duck-Yong’s works have achieved an artistic level that is universal in its statement and appeal yet also infused with Korean aesthetics. 
Garett MarshallㅣArt Critic

You may also like

Back to Top