https://jaeyeolhan.com Jaeyeol Han | Contemporary Painter Tue, 20 Oct 2026 10:28:00 +0000 https://jaeyeolhan.com en https://jaeyeolhan.com/Front-Page Wed, 08 Apr 2020 18:28:36 +0000 Jaeyeol Han | Contemporary Painter https://jaeyeolhan.com/Front-Page <img width="3240" height="1978" width_o="3240" height_o="1978" data-src="https://freight.cargo.site/t/original/i/97d2557ac29c3b860ca0abf1262513953dd1160b39a6015a9937175cf819e27d/003-copy.jpg" data-mid="251572965" border="0" src="https://freight.cargo.site/w/1000/i/97d2557ac29c3b860ca0abf1262513953dd1160b39a6015a9937175cf819e27d/003-copy.jpg" />「Triptych」&nbsp; &nbsp; &nbsp; &nbsp; &nbsp;Bystanders, Three Bodies&nbsp; &nbsp; 220 x 570cm&nbsp; &nbsp; Oil and Pigment Bar on Canvas&nbsp; &nbsp; 2025&nbsp; &nbsp; &nbsp; &nbsp;Berlin <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/3dafc2f520fb1bb10a66d0047232d02b3f4f6b7371619d737b213306e5a09352/02_4_Bystanders_Three_Bodies_220x570cm_Oil_PigmentBar_Canvas_2025.jpg.jpg" data-mid="251572886" border="0" src="https://freight.cargo.site/w/1000/i/3dafc2f520fb1bb10a66d0047232d02b3f4f6b7371619d737b213306e5a09352/02_4_Bystanders_Three_Bodies_220x570cm_Oil_PigmentBar_Canvas_2025.jpg.jpg" /> <img width="3000" height="4500" width_o="3000" height_o="4500" data-src="https://freight.cargo.site/t/original/i/1ce9c147f9ede1fb7a937e8d5b9e7e019d53924ef49f15a7e78a6c8a5f181471/three-bodies-4--height-220-x-width-190-cm.jpg" data-mid="251573186" border="0" src="https://freight.cargo.site/w/1000/i/1ce9c147f9ede1fb7a937e8d5b9e7e019d53924ef49f15a7e78a6c8a5f181471/three-bodies-4--height-220-x-width-190-cm.jpg" /> <img width="4000" height="1412" width_o="4000" height_o="1412" data-src="https://freight.cargo.site/t/original/i/7ee39c49aa921e2d2fb09c880b2c137051ded7ec7a712d3b1cb901cd71eec029/-Quadtych--Bystanders--Youth_2024--220x760cm--Oil-on-Canvas--.jpg" data-mid="219100733" border="0" src="https://freight.cargo.site/w/1000/i/7ee39c49aa921e2d2fb09c880b2c137051ded7ec7a712d3b1cb901cd71eec029/-Quadtych--Bystanders--Youth_2024--220x760cm--Oil-on-Canvas--.jpg" />「Tetraptych」&nbsp; &nbsp; &nbsp; &nbsp; &nbsp;Bystanders, Youth&nbsp; &nbsp; 220 x 760cm&nbsp; &nbsp; Oil and Pigment Bar on Canvas&nbsp; &nbsp; 2024&nbsp; &nbsp; &nbsp; &nbsp; Berlin “It will finally have suggested that between the 'dignity' proper to man and the baseness that leads him to exterminate his own kind, two tasks are ultimately assigned to us: to recognize in the other, even when he seems to us the most strange and the most alien, a similitude, and at the same time to recognize in ourselves, whatever it may be, an 'obstinacy in the negative existence' that no limit can contain. As if 'hoping to see one man' could not proceed without the cruel question of the inhumanity 'that man has inflicted on man' throughout history.” -Georges Bataille, Humanity (Verso, 1986), p. 22. <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/f5724a721361eaf5033576907bc518568eb6c8b2abc922091b5790643a158735/IMG_6618-2.jpg" data-mid="203925851" border="0" src="https://freight.cargo.site/w/1000/i/f5724a721361eaf5033576907bc518568eb6c8b2abc922091b5790643a158735/IMG_6618-2.jpg" /><img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/36d618b19a9c56730c456fecb4a449079856dbeb1ad7787b9701e1b7d002131f/IMG_6619-2.jpg" data-mid="203925852" border="0" src="https://freight.cargo.site/w/1000/i/36d618b19a9c56730c456fecb4a449079856dbeb1ad7787b9701e1b7d002131f/IMG_6619-2.jpg" /> https://jaeyeolhan.com/Bystanders-Three-Bodies Tue, 25 Aug 2026 21:41:44 +0000 Jaeyeol Han | Contemporary Painter https://jaeyeolhan.com/Bystanders-Three-Bodies Bystanders, Three Bodies— Project Bystanders Triptych 2025Oil and Pigment Bar on Canvaseach 220 × 190 cm; overall 220 × 570 cm (HxW) Courtesy of the Artist, Berlin Case Study: Three Bodies (2025) Jaeyeol Han’s Bystanders, Three Bodies presses red fields, dark lines and entangled limbs across three canvases measuring 220 centimetres high and 570 centimetres wide overall. At close range, ridges and shifts in density give the paint the weight of flesh. From a distance, however, one contour becomes the beginning of another body. The title proposes a count, but the figures refuse to confirm it. Only the three panels remain discrete; within them, bodies gather and disperse between singular and plural states. This delay in recognition is not a defect of description. The viewer follows outlines, faces and gendered cues in an attempt to assign each limb to an individual body. Yet arms and legs cross one another’s territories, while figure and ground are separated only provisionally by different concentrations of the same red. Relation does not arise between completed individuals. Contact, pressure and overlap come first, and a body temporarily coagulates within them. In the chapter “Double Bodies” in Burning Images, Florian Göttke extends the genealogy of the king’s mortal body and enduring political body developed by Ernst Kantorowicz, tracing how a corporeal person acquires another existence through public images and surrogates. Read alongside Judith Butler’s critique of the division between private bodily life and public appearance, this genealogy raises a further issue: the conditions under which a body becomes recognisable and publicly present are not shared equally. In Han’s work, a corporeal body moves through the body of a source image and into a painted, material body, but does not settle in any of these forms. These figures should not therefore be described as political effigies. More precisely, the painting stages how one body is multiplied across media, social signs and acts of looking. The surface functions like an imago that summons an absent presence without returning its name. The bodies have scale, weight and density, yet the viewer cannot restore who they are, where they are or what has happened. Han does not explain the source image. He compresses and dislocates its traces, sustaining the point at which another image might emerge from within painting.&nbsp;[...]&nbsp;사례 연구: 《Three Bodies》 (2025) 한재열의 〈Bystanders, Three Bodies〉는 높이 220cm, 전체 너비 570 cm의 세 캔버스에 붉은 색면과 검은 선, 겹쳐진 팔다리를 밀어 넣는다. 가까이에서는 물감의 두께와 압력이 살처럼 솟지만, 뒤로 물러나면 하나의 윤곽이 다른 몸의 시작점으로 이어진다. 제목은 ‘세 개’를 지시하지만 화면 속 인물은 셀 수 없다. 세 패널만이 분명한 단위로 남고, 그 안의 몸은 하나와 다수 사이에서 계속 합쳐지고 흩어진다. 이 식별의 지연은 묘사의 결함이 아니다. 관객은 윤곽과 얼굴, 성별화된 단서를 따라 각 신체의 소유와 경계를 확정하려 하지만, 팔과 다리는 서로의 영역을 가로지르고 배경과 살은 같은 적색의 밀도 차이로만 잠정적으로 갈린다. 관계가 완성된 개인들 뒤에 오는 것이 아니라, 접촉과 압력 속에서 개별 신체가 잠시 응고한다. 플로리안 괴트케는 『Burning Images』의 「Double Bodies」에서 칸토로비치가 구분한 왕의 자연적 신체와 지속되는 정치적 신체의 계보를 확장하며, 육체가 공적 이미지와 대리물 속에서 또 하나의 몸을 획득하는 과정을 추적한다. 이 계보를 주디스 버틀러의 공적·사적 신체 분할에 대한 비판과 함께 읽으면, 한 몸이 공적으로 출현하고 식별되는 조건이 누구에게나 같지 않다는 점이 선명해진다. 〈Three Bodies〉의 형상은 실제였을 몸, 출발 이미지 안에서 매개된 몸, 캔버스 위에서 다시 물질화된 몸 사이를 이동하지만 어느 층위에도 고정되지 않는다. 따라서 이 형상들을 정치적 에피지라고 단정할 수는 없다. 작품은 하나의 신체가 매체와 사회적 기호, 타인의 시선 속에서 중복되어 존재하는 방식을 드러낸다. 이때 화면은 부재한 존재를 불러오되 이름을 돌려주지 않는 이마고처럼 작동한다. 강한 현존은 남지만 누가, 어디서, 무엇을 겪는지는 복원되지 않는다. 한재열은 출발 이미지를 설명하는 대신 그 흔적을 압축하고 어긋나게 하면서, 회화 안에서 또 다른 이미지가 발생할 수 있는 상태를 지속시킨다. [...]&nbsp; <img width="4164" height="2299" width_o="4164" height_o="2299" data-src="https://freight.cargo.site/t/original/i/2eaf4ce5142f2a35ddd3aa1f2762b3bc315572b7d6bc71255c399ee2cfa9f8cf/Bystanders_Three_Bodies_220x570cm_Oil_PigmentBar_Canvas_2025-copy.jpg" data-mid="251572723" border="0" src="https://freight.cargo.site/w/1000/i/2eaf4ce5142f2a35ddd3aa1f2762b3bc315572b7d6bc71255c399ee2cfa9f8cf/Bystanders_Three_Bodies_220x570cm_Oil_PigmentBar_Canvas_2025-copy.jpg" /><img width="2000" height="2319" width_o="2000" height_o="2319" data-src="https://freight.cargo.site/t/original/i/51658f9ce811bcfa8b5d01c07ede6429c3cc21de982198029ed3932f508fb5e9/three-bodies-1--height-220-x-width-190-cm.jpg" data-mid="251572471" border="0" src="https://freight.cargo.site/w/1000/i/51658f9ce811bcfa8b5d01c07ede6429c3cc21de982198029ed3932f508fb5e9/three-bodies-1--height-220-x-width-190-cm.jpg" /><img width="2000" height="2321" width_o="2000" height_o="2321" data-src="https://freight.cargo.site/t/original/i/d2dd7bd06786efc4c9aa59b4d05f24986f69d1ef2f18f4e9e3e802c0b1ef4167/three-bodies-2--height-220-x-width-190-cm.jpg" data-mid="251572473" border="0" src="https://freight.cargo.site/w/1000/i/d2dd7bd06786efc4c9aa59b4d05f24986f69d1ef2f18f4e9e3e802c0b1ef4167/three-bodies-2--height-220-x-width-190-cm.jpg" /><img width="2000" height="2327" width_o="2000" height_o="2327" data-src="https://freight.cargo.site/t/original/i/fc07ba5823d20a427f42f1296cbb7526ae43f12b3dbfba130814c56dd48decce/three-bodies-3--height-220-x-width-190-cm.jpg" data-mid="251572478" border="0" src="https://freight.cargo.site/w/1000/i/fc07ba5823d20a427f42f1296cbb7526ae43f12b3dbfba130814c56dd48decce/three-bodies-3--height-220-x-width-190-cm.jpg" /><img width="5889" height="3950" width_o="5889" height_o="3950" data-src="https://freight.cargo.site/t/original/i/0bebc7506c449c479225f8474d3a90cd9661bd524aab85a8e674f00ca280b9cd/DSC07151-copy.jpg" data-mid="251572679" border="0" src="https://freight.cargo.site/w/1000/i/0bebc7506c449c479225f8474d3a90cd9661bd524aab85a8e674f00ca280b9cd/DSC07151-copy.jpg" /><img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/d3a3b840e6c76ea4f1245caf423810ca7c936349c25aa28fe518402e0ee02274/02_4_Bystanders_Three_Bodies_220x570cm_Oil_PigmentBar_Canvas_2025.jpg.jpg" data-mid="251572716" border="0" src="https://freight.cargo.site/w/1000/i/d3a3b840e6c76ea4f1245caf423810ca7c936349c25aa28fe518402e0ee02274/02_4_Bystanders_Three_Bodies_220x570cm_Oil_PigmentBar_Canvas_2025.jpg.jpg" /><img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/cc5575061ba106e0ab6367076302d998b5ea4696108964d5d7e7574465682575/DSC06248.jpg" data-mid="251572713" border="0" src="https://freight.cargo.site/w/1000/i/cc5575061ba106e0ab6367076302d998b5ea4696108964d5d7e7574465682575/DSC06248.jpg" /><img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/e00ecadc796c703f5ff87e33e068530ec10698abd66deed78dcefdc3c2443110/DSC06237.jpg" data-mid="251572711" border="0" src="https://freight.cargo.site/w/1000/i/e00ecadc796c703f5ff87e33e068530ec10698abd66deed78dcefdc3c2443110/DSC06237.jpg" /><img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/17c43fc3f910637f2c9d6fab9f6e5e717426c9111036a98fb432471a6fef7540/DSC06239.jpg" data-mid="251572712" border="0" src="https://freight.cargo.site/w/1000/i/17c43fc3f910637f2c9d6fab9f6e5e717426c9111036a98fb432471a6fef7540/DSC06239.jpg" /><img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/8fb04d14f2df7f8cff3612c0dfe6d600211292043911246bea82e9631e28251c/03_4_Bystanders_Three_Bodies_220x570cm_Oil_PigmentBar_Canvas_2025.jpg.jpg" data-mid="251572729" border="0" src="https://freight.cargo.site/w/1000/i/8fb04d14f2df7f8cff3612c0dfe6d600211292043911246bea82e9631e28251c/03_4_Bystanders_Three_Bodies_220x570cm_Oil_PigmentBar_Canvas_2025.jpg.jpg" /><img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/0673d4c37920e4178b57afc30b43541d01079a3c053828e87c15e894f5d9c6f1/02_2_Bystanders_Three_Bodies_220x570cm_Oil_PigmentBar_Canvas_2025.jpg.jpg" data-mid="251572728" border="0" src="https://freight.cargo.site/w/1000/i/0673d4c37920e4178b57afc30b43541d01079a3c053828e87c15e894f5d9c6f1/02_2_Bystanders_Three_Bodies_220x570cm_Oil_PigmentBar_Canvas_2025.jpg.jpg" /><img width="2999" height="1069" width_o="2999" height_o="1069" data-src="https://freight.cargo.site/t/original/i/e9ff200a8f1ad922a6063f317e0f4517c113abc86c028b776ec0b0c27a24d986/20250906-00001-4.jpg" data-mid="253512287" border="0" src="https://freight.cargo.site/w/1000/i/e9ff200a8f1ad922a6063f317e0f4517c113abc86c028b776ec0b0c27a24d986/20250906-00001-4.jpg" /> https://jaeyeolhan.com/Bystanders-Youth Fri, 20 Jun 2025 15:03:47 +0000 Jaeyeol Han | Contemporary Painter https://jaeyeolhan.com/Bystanders-Youth Bystanders, Youth— Project Bystanders Tetraptych 2024Oil and Pigment Bar on Canvaseach 220 × 190 cm; overall 220 × 760 cm (HxW) Courtesy of the Artist, Berlin Case Study: Youth (2024) Bystanders, Youth (2024) consists of four canvases, each presenting a distinct figure. The four panels do not depict successive movements of a single person. Each figure occupies its own pictorial space, yet the composition prevents the panels from remaining entirely separate. A fragment of a foot cropped in the first panel reappears in the lower right corner of the fourth, establishing a connection between the beginning and end of the painting. This recurring fragment alters the way the work is seen. The viewer initially moves from left to right, encountering four individuals in sequence. Upon reaching the final panel, however, the repeated bodily detail directs the gaze back to the first. What appears to be a sequence develops into a circular visual structure. The connection does not depend on a continuous narrative or the movement of one character across four scenes. Instead, it emerges from a pictorial relationship between otherwise distinct figures. The individual bodies remain recognisable, but their forms are interrupted, displaced and partially absorbed into the surrounding fields of colour. The viewer must repeatedly distinguish bodily contours from the marks and surfaces that constitute them. Yet the more consequential uncertainty concerns not simply the identification of each figure, but the relationship between the four panels. Each canvas establishes a separate presence while participating in a larger composition that cannot be fully understood through any single panel. The title Youth brings these figures under a shared designation without resolving their identities or prescribing a common narrative. Rather than illustrating a predetermined condition of a generation, the painting constructs a relationship through its own visual organisation. Four individuals remain distinct, while a fragment of the body connects the final image to the first. The work's circular structure allows the act of looking to continue beyond the apparent end of the composition, making the viewer's movement an essential part of how the painting is experienced.사례 연구: 《Youth》 (2024) 《Bystanders, Youth》(2024)는 네 개의 캔버스에 각각 다른 인물이 등장하는 사폭화다. 네 패널은 한 사람의 움직임을 연속적으로 보여주는 장면이 아니다. 각 인물은 자신의 화면을 차지하지만, 네 개의 화면이 완전히 분리된 상태로 남아 있는 것도 아니다. 첫 번째 패널에서 잘려 나간 발의 일부가 마지막 네 번째 패널의 오른쪽 아래에 다시 나타나면서 그림의 시작과 끝을 연결한다. 이 반복은 작품을 보는 방식을 바꾼다. 관람자는 처음에 왼쪽에서 오른쪽으로 이동하며 네 사람을 차례로 마주한다. 그러나 마지막 패널에 도착하면 반복된 신체의 일부가 시선을 다시 첫 번째 패널로 되돌린다. 네 장면의 연속처럼 보였던 구성이 하나의 순환 구조로 바뀌는 것이다. 이 연결은 한 인물이 네 화면을 이동하는 서사에서 발생하지 않는다. 서로 다른 인물들이 각자의 화면에 존재하면서도, 반복된 형상의 일부를 통해 하나의 회화적 관계를 형성한다. 각 인물의 신체는 알아볼 수 있지만, 윤곽은 끊기고 어긋나며 주변 색면 속으로 부분적으로 흡수된다. 관람자는 인물의 경계와 그것을 구성하는 물감의 흔적을 번갈아 살펴야 한다. 그러나 이 작품에서 더 중요한 문제는 개별 신체를 알아보는 일만이 아니라 네 화면이 서로 어떤 관계를 맺는가에 있다. 각각의 캔버스는 하나의 독립적인 존재를 제시하지만, 그중 어느 한 화면만으로는 작품 전체의 구성을 충분히 이해할 수 없다. 《Youth》라는 제목은 네 인물을 하나의 이름 아래 묶지만, 그들의 정체성이나 공통된 이야기를 확정하지 않는다. 이 그림은 특정 세대의 상태를 미리 정해진 의미로 설명하기보다, 서로 다른 네 인물 사이에 회화적인 관계를 만들어낸다. 각 인물의 개별성은 유지되지만, 신체의 일부가 마지막 화면과 첫 화면을 연결하면서 작품은 하나의 순환적인 구조를 갖게 된다. 관람자의 시선은 그림의 끝에서 멈추지 않고 다시 처음으로 돌아간다. 작품을 보는 움직임 자체가 회화의 구성에 참여하는 것이다. <img width="4000" height="1412" width_o="4000" height_o="1412" data-src="https://freight.cargo.site/t/original/i/7ee39c49aa921e2d2fb09c880b2c137051ded7ec7a712d3b1cb901cd71eec029/-Quadtych--Bystanders--Youth_2024--220x760cm--Oil-on-Canvas--.jpg" data-mid="234802777" border="0" src="https://freight.cargo.site/w/1000/i/7ee39c49aa921e2d2fb09c880b2c137051ded7ec7a712d3b1cb901cd71eec029/-Quadtych--Bystanders--Youth_2024--220x760cm--Oil-on-Canvas--.jpg" /><img width="2000" height="2314" width_o="2000" height_o="2314" data-src="https://freight.cargo.site/t/original/i/d55395dca1ba8172fe5676e632ad1be33fab8f28ca2298d16114fcfe82d184aa/Bystander_Youth_01_Left.jpg" data-mid="234802808" border="0" src="https://freight.cargo.site/w/1000/i/d55395dca1ba8172fe5676e632ad1be33fab8f28ca2298d16114fcfe82d184aa/Bystander_Youth_01_Left.jpg" /><img width="2000" height="2316" width_o="2000" height_o="2316" data-src="https://freight.cargo.site/t/original/i/8cc45957170d2d34c87469bc3ba13cddd80ee3000a945f654d8efa79d222fd08/Bystander_Youth_02_MidLeft.jpg" data-mid="234802809" border="0" src="https://freight.cargo.site/w/1000/i/8cc45957170d2d34c87469bc3ba13cddd80ee3000a945f654d8efa79d222fd08/Bystander_Youth_02_MidLeft.jpg" /><img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/f5724a721361eaf5033576907bc518568eb6c8b2abc922091b5790643a158735/IMG_6618-2.jpg" data-mid="234802778" border="0" src="https://freight.cargo.site/w/1000/i/f5724a721361eaf5033576907bc518568eb6c8b2abc922091b5790643a158735/IMG_6618-2.jpg" /><img width="2000" height="2312" width_o="2000" height_o="2312" data-src="https://freight.cargo.site/t/original/i/e4f7c3345ebaff4cbd6d72d34bad04d3396dcb877702bae8c49811ffd2c4d374/Bystander_Youth_03_MidRight.jpg" data-mid="234802810" border="0" src="https://freight.cargo.site/w/1000/i/e4f7c3345ebaff4cbd6d72d34bad04d3396dcb877702bae8c49811ffd2c4d374/Bystander_Youth_03_MidRight.jpg" /><img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/36d618b19a9c56730c456fecb4a449079856dbeb1ad7787b9701e1b7d002131f/IMG_6619-2.jpg" data-mid="234802776" border="0" src="https://freight.cargo.site/w/1000/i/36d618b19a9c56730c456fecb4a449079856dbeb1ad7787b9701e1b7d002131f/IMG_6619-2.jpg" /><img width="2000" height="2318" width_o="2000" height_o="2318" data-src="https://freight.cargo.site/t/original/i/eb82bf1c1042f5d0619e9ca63237b139f979e9e16c73ae7d2559902394afa1ce/Bystander_Youth_04_Right.jpg" data-mid="234802811" border="0" src="https://freight.cargo.site/w/1000/i/eb82bf1c1042f5d0619e9ca63237b139f979e9e16c73ae7d2559902394afa1ce/Bystander_Youth_04_Right.jpg" /><img width="3000" height="1779" width_o="3000" height_o="1779" data-src="https://freight.cargo.site/t/original/i/dbf4eddac6978271e85ef524574b0ff01d53410ff1a0da8f722e1e4a17ade194/Cank_Bystanders-Youth_220x760cm_Oil-on-Canvas_2024.jpg" data-mid="234806733" border="0" src="https://freight.cargo.site/w/1000/i/dbf4eddac6978271e85ef524574b0ff01d53410ff1a0da8f722e1e4a17ade194/Cank_Bystanders-Youth_220x760cm_Oil-on-Canvas_2024.jpg" /><img width="3000" height="2033" width_o="3000" height_o="2033" data-src="https://freight.cargo.site/t/original/i/497f1329848425f5f0d2b14c189b0901242826f2840b08155437a05c1a971583/Cank_2-Bystanders-Youth_220x760cm_Oil-on-Canvas_2024.jpg" data-mid="234806736" border="0" src="https://freight.cargo.site/w/1000/i/497f1329848425f5f0d2b14c189b0901242826f2840b08155437a05c1a971583/Cank_2-Bystanders-Youth_220x760cm_Oil-on-Canvas_2024.jpg" /> https://jaeyeolhan.com/Bystanders-BOX-1 Tue, 13 Oct 2026 06:18:11 +0000 Jaeyeol Han | Contemporary Painter https://jaeyeolhan.com/Bystanders-BOX-1 Bystanders, BOX— Project Bystanders 2024Oil and Pigment Bar on Canvas200 × 200 cm Courtesy of the Artist, Berlin<img width="1290" height="1250" width_o="1290" height_o="1250" data-src="https://freight.cargo.site/t/original/i/1e2c8e41d9d0ca6e1f98299d7bbdd20e258375ca26a577f0f3d1b1ec3981740b/1-box_o.jpg" data-mid="253232926" border="0" src="https://freight.cargo.site/w/1000/i/1e2c8e41d9d0ca6e1f98299d7bbdd20e258375ca26a577f0f3d1b1ec3981740b/1-box_o.jpg" /><img width="2609" height="3757" width_o="2609" height_o="3757" data-src="https://freight.cargo.site/t/original/i/5ffda26a63939281fba93d7cc44e8f7fee51fd60c52f1b354a023fccb71cd0c3/2-image-e9dd9af4.jpg" data-mid="253232934" border="0" src="https://freight.cargo.site/w/1000/i/5ffda26a63939281fba93d7cc44e8f7fee51fd60c52f1b354a023fccb71cd0c3/2-image-e9dd9af4.jpg" /> https://jaeyeolhan.com/Passersby-Imago Tue, 20 Oct 2026 10:28:00 +0000 Jaeyeol Han | Contemporary Painter https://jaeyeolhan.com/Passersby-Imago h2 ~ h2 { font-size: 24.7px !important; font-weight: 700 !important; line-height: 1.3 !important; } h2 + p::first-line, h2 + p + p::first-line { font-style: italic; } .essay-col h2 { font-size: 24.7px !important; font-weight: 700 !important; line-height: 1.3 !important; }.essay-col h2 { font-size: calc(17.95px + 0.526vw) !important; font-weight: 900 !important; line-height: calc(23.34px + 0.683vw) !important; }.essay-col p { font-size: calc(15.91px + 0.279vw); line-height: calc(23.87px + 0.418vw); }.essay-col h2 + p { font-size: 14px !important; line-height: 1.4 !important; }.essay-col h2 + p + p { font-size: calc(15.91px + 0.279vw) !important; line-height: calc(23.87px + 0.418vw) !important; font-style: normal !important; }.essay-col h2 + p + p::first-line { font-style: normal !important; }.essay-col > img { display:block; width:clamp(110px,18vw,160px) !important; height:auto !important; margin:0 0 10px; }.essay-col h2 + img + p { font-size: 14px !important; line-height: 1.4 !important; }.essay-col h2 + img + p::first-line { font-style: italic; } p { font-family: Inter, sans-serif; font-weight: 400; font-size: 19.5px; line-height: 29px; color: rgba(0, 0, 0, 0.85); } h2 ~ h2 { font-size: 24.7px; font-weight: 700; line-height: 1.3; } h2 + p, h2 + p + p { font-size: 14px; line-height: 1.4; } .essay-col > a img { display:block; width:clamp(110px,18vw,160px) !important; height:auto !important; margin:0 0 10px; }.essay-col h2 + a + p { font-size: 14px !important; line-height: 1.4 !important; }.essay-col h2 + a + p::first-line { font-style: italic; }Passersby, Imago— Project Passersby 2026 PIGMENT BAR and oil on canvas 180 × 210 cm Courtesy of the Artist, Berlin<img width="2000" height="2336" width_o="2000" height_o="2336" data-src="https://freight.cargo.site/t/original/i/ac299c5b26cf28584351c040c825439c50245b81f7101682a47c5747f0fd5664/Passersby--Imago_190x210cm_Oil-and-Pigment-Bar-on-Canvas_2025.jpg" data-mid="253512225" border="0" src="https://freight.cargo.site/w/1000/i/ac299c5b26cf28584351c040c825439c50245b81f7101682a47c5747f0fd5664/Passersby--Imago_190x210cm_Oil-and-Pigment-Bar-on-Canvas_2025.jpg" /><img width="2000" height="1164" width_o="2000" height_o="1164" data-src="https://freight.cargo.site/t/original/i/520315db14b96a34ea804f4465b1ed48246426091da6bc9fdddd5d18f9b28c3f/Passersby--Imago_190x210cm_Oil-and-Pigment-Bar-on-Canvas_2025_detail.jpg" data-mid="253512224" border="0" src="https://freight.cargo.site/w/1000/i/520315db14b96a34ea804f4465b1ed48246426091da6bc9fdddd5d18f9b28c3f/Passersby--Imago_190x210cm_Oil-and-Pigment-Bar-on-Canvas_2025_detail.jpg" /><img width="2000" height="1125" width_o="2000" height_o="1125" data-src="https://freight.cargo.site/t/original/i/f7332e8cf18e382c05152e9c4585e6d80fe786cb4d70a4b4e6f2bc1c1682e189/Passersby--Imago_190x210cm_Pigment-Bar-and-Oil-on-Canvas_2026.jpg" data-mid="253512226" border="0" src="https://freight.cargo.site/w/1000/i/f7332e8cf18e382c05152e9c4585e6d80fe786cb4d70a4b4e6f2bc1c1682e189/Passersby--Imago_190x210cm_Pigment-Bar-and-Oil-on-Canvas_2026.jpg" />The Inside and Outside of the Face That Remains <img width="3840" height="4817" width_o="3840" height_o="4817" data-src="https://freight.cargo.site/t/original/i/f41f4a80f9e21fff611deee1be391f30a1b73a64cc9053d49a81747c4eb5eecb/7-Deathmask-3840-150dpi.jpg" data-mid="253513878" border="0" src="https://freight.cargo.site/w/1000/i/f41f4a80f9e21fff611deee1be391f30a1b73a64cc9053d49a81747c4eb5eecb/7-Deathmask-3840-150dpi.jpg" /> Passersby, Study of Death Mask 2020 30 × 24.5 cm PIGMENT BAR on canvas Both paintings present a single head emerging against a dark blue ground. Black, white, yellow and red, together with several layers of blue, trace an oval perimeter and divide it from within. Their colours and compositions are close enough to suggest that one work might refer to the other. Yet the change in scale alters the way each head exists. The smaller painting, measuring 30 × 24.5 cm, remains before the eye at roughly the size of an actual face. At 180 × 210 cm, the larger work confronts the viewer at the scale of the entire body. One calls for close inspection; the other requires distance. In the smaller painting, the outline of the head remains relatively clear, but the face does not settle securely within it. White and yellow matter seems to have run down the surface before hardening into protrusions that cover the places where the eyes, nose and mouth should be. It resembles a mask laid over a face, only to appear moments later as internal tissue forced outwards. In the larger painting, thick bands of colour turn around the head and fold the surface inwards. The ear, neck and outer contour of the skull remain, while the centre of the face is displaced into layers of brushwork and gaps. What protrudes materially from the smaller surface becomes, in the larger work, a movement that revolves and penetrates. The dates tell us that the smaller painting came first, but their visual relationship does not settle the question of precedence. At moments, the larger work appears to be an enlarged original from which the smaller image has broken away as a residue. Conversely, if the smaller painting is seen as a compressed mould, the larger one resembles a surface that had been folded inside it and subsequently opened out. The works do not repeat the same face. Once they are brought into relation, each becomes a structure through which the possible formation of the other can be imagined. This relationship recalls the reversal of inside and outside that occurs in the making of a cast mask. When material is poured into a concave negative mould taken from a face, it produces a convex positive form. A surface that once belonged to the inside of the mould becomes the outside of the completed mask. Neither painting was made by casting. Yet the surface of the PIGMENT BAR, which contains beeswax and has been pressed, shifted and allowed to set, materially evokes this conversion. In the smaller work especially, paint no longer merely represents a face. It assumes the place of another skin. Death masks and Roman ancestral images can be related, but they are not identical. A death mask preserves as a material trace a surface taken directly from a dead face. Ancestral images in ancient Rome, by contrast, borrowed the bodies of surrogates during funeral processions, enabling an absent person to appear again. The two lineages meet in the capacity of an image to occupy the place of someone who has disappeared and prolong a form of presence. What matters to me is not the reproduction of these historical forms in painting. It is the question of how a figure can continue to hold someone’s place after likeness and identification have ceased to function. In entomology, imago names the adult form that appears after metamorphosis. The forms in these paintings, however, never arrive at a completed final stage. A shed casing and what emerges from within it seem to be present at the same time. What counts as residue and what counts as appearance continually exchange positions. The smaller painting resembles a hardened remnant while also pushing a new form through its surface. The larger work makes the head appear at a scale greater than the body, yet retains an empty space and a dismantled face within it. Throughout the Passersby series, I have treated the face not as proof of individual identity but as a place where someone appears while simultaneously receding from identification. These two works carry this disjunction through different scales and different movements of matter. The likeness of the original figure is not preserved, yet the thickness and direction of the paint, the contour of the head and its vacant centre create a place in which a face can exist again. Between the two paintings lies a relationship between surfaces formed at different moments. One condenses a trace within a small field; the other returns that trace as a presence larger than the body. The image beyond the image is not an answer concealed behind the surface. It is a form generated anew across different scales, times and material conditions once the initial likeness can no longer guarantee the person it once represented. By exchanging inside and outside, the two works sustain the process through which a face takes shape again where resemblance has disappeared. Innen und Außen des verbleibenden Gesichts <img width="3840" height="4817" width_o="3840" height_o="4817" data-src="https://freight.cargo.site/t/original/i/f41f4a80f9e21fff611deee1be391f30a1b73a64cc9053d49a81747c4eb5eecb/7-Deathmask-3840-150dpi.jpg" data-mid="253513878" border="0" src="https://freight.cargo.site/w/1000/i/f41f4a80f9e21fff611deee1be391f30a1b73a64cc9053d49a81747c4eb5eecb/7-Deathmask-3840-150dpi.jpg" /> Passersby, Study of Death Mask 2020 30 × 24,5 cm PIGMENT BAR auf Leinwand Auf beiden Gemälden erscheint vor einem dunkelblauen Grund ein einzelner Kopf. Schwarz, Weiß, Gelb und Rot sowie mehrere Schichten von Blau bilden seinen ovalen Umriss und durchqueren zugleich sein Inneres. Farbigkeit und Aufbau ähneln sich so stark, dass ein Werk auf das andere zu verweisen scheint. Mit dem Wechsel des Formats verändert sich jedoch auch die Weise, in der der Kopf gegenwärtig wird. Das kleine Gemälde im Format 30 × 24,5 cm bleibt ungefähr in der Größe eines wirklichen Gesichts vor dem Auge. Das 180 × 210 cm große Bild tritt dem Betrachter im Maßstab des gesamten Körpers gegenüber. Das eine verlangt Nähe, das andere Abstand. Im kleineren Gemälde bleibt der Umriss des Kopfes vergleichsweise deutlich, doch das Gesicht findet darin keinen stabilen Platz. Weiße und gelbe Materie scheint über die Oberfläche gelaufen und anschließend zu Vorsprüngen erstarrt zu sein, die jene Stellen bedecken, an denen Augen, Nase und Mund zu erwarten wären. Zunächst wirkt sie wie eine über das Gesicht gelegte Maske, dann wie inneres Gewebe, das nach außen gedrungen ist. Im größeren Bild drehen sich breite Farbbahnen um den Kopf und falten seine Oberfläche nach innen. Ohr, Hals und die äußere Kontur des Schädels bleiben erhalten, während das Zentrum des Gesichts in Schichten von Pinselzügen und Zwischenräumen zurückweicht. Was im kleinen Format materiell hervortritt, verwandelt sich im großen Gemälde in eine kreisende und eindringende Bewegung. Die Datierung zeigt, dass das kleinere Werk zuerst entstanden ist. Das visuelle Verhältnis der beiden Bilder legt ihre Ordnung dennoch nicht eindeutig fest. Mitunter wirkt das große Gemälde wie eine vergrößerte Vorlage, von der sich das kleine Bild als Rest abgelöst hat. Betrachtet man dagegen das kleinere Werk als verdichtete Gussform, erscheint das größere wie eine darin eingefaltete und anschließend entfaltete Oberfläche. Die beiden Arbeiten wiederholen nicht dasselbe Gesicht. Sobald sie aufeinander bezogen werden, lässt jede von ihnen die mögliche Entstehung der anderen vorstellbar werden. Dieses Verhältnis erinnert an die Umkehrung von Innen und Außen bei der Abformung einer Maske. Wird Material in eine konkave Negativform gegossen, die von einem Gesicht abgenommen wurde, entsteht daraus ein konvexer Positivabguss. Eine Fläche, die zuvor die Innenseite der Form bildete, wird zur Außenseite der fertigen Maske. Keines der beiden Gemälde wurde im Gussverfahren hergestellt. Die gepresste, verschobene und erstarrte Oberfläche des PIGMENT BAR, das Bienenwachs enthält, ruft diesen Vorgang jedoch materiell auf. Besonders im kleineren Werk beschreibt die Farbe das Gesicht nicht mehr nur. Sie nimmt den Platz einer weiteren Haut ein. Totenmasken und römische Ahnenbilder lassen sich aufeinander beziehen, sind jedoch nicht identisch. Eine Totenmaske bewahrt die unmittelbar vom Gesicht eines Verstorbenen abgenommene Oberfläche als materielle Spur. Die Ahnenbilder des antiken Rom wurden dagegen bei Bestattungszügen von Stellvertretern getragen und ließen eine abwesende Person erneut erscheinen. Beide Traditionslinien berühren sich dort, wo ein Bild den Platz eines verschwundenen Menschen übernimmt und dessen Gegenwart verlängert. Entscheidend ist für mich nicht, diese historischen Formen in der Malerei nachzubilden. Mich interessiert, wie eine Gestalt den Platz einer Person weiterhin besetzen kann, nachdem Ähnlichkeit und Identifizierung ihre Funktion verloren haben. In der Entomologie bezeichnet Imago das erwachsene Stadium eines Insekts, das nach der Metamorphose hervortritt. Die Formen dieser beiden Gemälde erreichen jedoch keinen abgeschlossenen Endzustand. Eine abgestreifte Hülle und das, was aus ihrem Inneren hervorkommt, scheinen gleichzeitig sichtbar zu sein. Was zurückbleibt und was neu hervortritt, vertauscht fortwährend seine Position. Das kleine Gemälde wirkt wie eine erstarrte Spur und drängt zugleich eine neue Gestalt aus seiner Oberfläche hervor. Das große Bild lässt den Kopf in einem den Körper übersteigenden Maßstab erscheinen, bewahrt in seinem Inneren jedoch weiterhin eine Leerstelle und ein zerlegtes Gesicht. In der Werkgruppe Passersby habe ich das Gesicht nicht als Beweis einer individuellen Identität behandelt, sondern als einen Ort, an dem ein Mensch erscheint und sich zugleich der Identifizierung entzieht. Die beiden Arbeiten führen dieses Auseinandertreten von Erscheinung und Wiedererkennbarkeit in unterschiedlichen Größen und Bewegungen des Materials fort. Die Ähnlichkeit mit der ursprünglichen Figur bleibt nicht erhalten. Dennoch schaffen die Dicke und Richtung der Farbe, der Umriss des Kopfes und sein leeres Zentrum einen Ort, an dem ein Gesicht erneut existieren kann. Zwischen den Gemälden liegt die Beziehung zweier Oberflächen, die zu unterschiedlichen Zeiten entstanden sind. Das eine verdichtet eine Spur auf kleinem Raum; das andere überführt sie in eine Gegenwart, die größer ist als der menschliche Körper. Das Bild jenseits des Bildes ist keine hinter der Oberfläche verborgene Antwort. Es ist eine Gestalt, die zwischen verschiedenen Größen, Zeiten und materiellen Bedingungen neu entsteht, sobald die ursprüngliche Ähnlichkeit die dargestellte Person nicht mehr verbürgen kann. Indem die beiden Werke Innen und Außen gegeneinander verschieben, halten sie jenen Vorgang in Gang, durch den sich dort erneut ein Gesicht bildet, wo die Ähnlichkeit verschwunden ist. https://jaeyeolhan.com/Passersby-Study-of-Death-Mask Mon, 07 Sep 2020 15:35:54 +0000 Jaeyeol Han | Contemporary Painter https://jaeyeolhan.com/Passersby-Study-of-Death-Mask Passersby, Study of Death Mask&nbsp;— Project Passersby 2020 Pigment Bar on Canvas 30 × 24.5 cm Courtesy of the Artist, Berlin<img width="3840" height="4817" width_o="3840" height_o="4817" data-src="https://freight.cargo.site/t/original/i/ded69cabe3626f3c5190de23a0a009b0008b6c2e4aea9f4513972a06fb3e8e12/Deathmask-3840-150dpi.jpg" data-mid="82018739" border="0" src="https://freight.cargo.site/w/1000/i/ded69cabe3626f3c5190de23a0a009b0008b6c2e4aea9f4513972a06fb3e8e12/Deathmask-3840-150dpi.jpg" /><img width="3840" height="1973" width_o="3840" height_o="1973" data-src="https://freight.cargo.site/t/original/i/df86b2421e7aad219b50990b0cbb46893d9d993c2babab39e757cab99b95f70f/Deathmask-Detail-3840-150.jpg" data-mid="82019073" border="0" src="https://freight.cargo.site/w/1000/i/df86b2421e7aad219b50990b0cbb46893d9d993c2babab39e757cab99b95f70f/Deathmask-Detail-3840-150.jpg" /><img width="1400" height="1100" width_o="1400" height_o="1100" data-src="https://freight.cargo.site/t/original/i/57c577ba0f42ee9e91bed004c2f0975c4c30deaebfa1a9acad7c75914ea59d4b/1-w31_death_mask_new_viewer-4056dab7.jpg" data-mid="252932922" border="0" src="https://freight.cargo.site/w/1000/i/57c577ba0f42ee9e91bed004c2f0975c4c30deaebfa1a9acad7c75914ea59d4b/1-w31_death_mask_new_viewer-4056dab7.jpg" /> https://jaeyeolhan.com/The-Gathering-The-Red-Sofa Mon, 13 Apr 2020 14:13:15 +0000 Jaeyeol Han | Contemporary Painter https://jaeyeolhan.com/The-Gathering-The-Red-Sofa The Gathering, The Red Sofa— Project Bystanders 2020 Pigment Bar on Canvas198 × 152 cm Private collection Thresholds of the Impossible: Jaeyeol Han's "The Gathering, Red Sofa" Jaeyeol Han's "The Gathering, Red Sofa" (2020) stages a profound meditation on the impossibility of settlement in contemporary life, where the most fundamental promise of domesticity—the offering of rest—becomes a site of existential suspension. In this 198 × 152 cm work executed in the artist's signature Pigment Bar technique on canvas, Han constructs what Giorgio Agamben might recognize as a "zone of indistinction," where the domestic object encounters its own spatial displacement. The painting's central paradox—a red sofa positioned outside a house while a solitary figure stands, refusing the invitation to sit—articulates the condition of contemporary nomadism not as chosen mobility but as enforced precarity. Han's compositional strategy operates through what we might call a "trump card dialectic," inverting spatial and temporal relations with the precision of a playing card's doubled imagery. The sofa appears twice: inverted in the upper left corner like a reflected image, and properly oriented in the lower right, creating a temporal short-circuit that recalls Gilles Deleuze's concept of the crystal-image. This structural doubling produces what Deleuze describes as the "indiscernible" unity of virtual and actual, where memory and perception collapse into a single temporal knot. The upside-down sofa functions as the virtual trace of domestic possibility, while the "correct" sofa represents the actual impossibility of its realization. The phenomenology of non-belonging The standing figure, clothed and contemplating the ground rather than claiming the offered seat, embodies what Agamben theorizes as "pure potentiality"—the capacity to not actualize, to remain suspended between possibility and realization. This figure's refusal to sit becomes a form of what we might call "impotential domesticity," where the domestic object's function is acknowledged but never fulfilled. The painting thus stages the temporal structure of contemporary precarity, where domestic comfort exists as permanent possibility and permanent deferral. Georges Didi-Huberman's concept of the "entre" (between) proves particularly generative for understanding this spatial arrangement. The sofa exists neither fully inside nor outside, occupying what Didi-Huberman calls the "visual underside" of domestic space. This liminal positioning creates what he describes as a "symptom image"—a visual formation that reveals the underlying tensions of its historical moment. The red sofa becomes a symptom of Korea's housing crisis, where domestic objects exist in a state of perpetual displacement, never fully settled into stable spatial relations. The window positioned in the left corner functions as more than architectural detail; it operates as what Didi-Huberman calls a "dialectical image," simultaneously promising interiority and revealing its impossibility. The window's presence suggests the existence of interior domestic space while the sofa's exterior positioning demonstrates the failure of that promise. This architectural element activates what might be called the "architectural unconscious" of contemporary Korean society, where the dream of home persists even as its material conditions become increasingly impossible. The dialectics of non-settlement "The Gathering, Red Sofa" achieves its critical power through what we might call the "dialectics of non-settlement"—the simultaneous presentation of domestic possibility and its systematic denial. The painting's sophisticated formal structure, its material specificity, and its engagement with contemporary Korean social reality combine to create a work that functions as both aesthetic achievement and social critique. The work's theoretical richness emerges from its refusal to resolve the contradictions it presents. The sofa remains outside, the figure continues standing, the gathering fails to occur. This formal persistence of irresolution reflects the broader social conditions that make such resolution impossible. In this sense, Han's painting operates as what Agamben calls a "coming community"—a formation based not on shared identity but on shared impossibility. The painting's ultimate achievement lies in its transformation of social despair into spatial complexity, creating what might be called a "phenomenology of non-belonging" that speaks to conditions far beyond the Korean context. In an era of global housing crises, climate displacement, and economic precarity, "The Gathering, Red Sofa" offers a visual language for understanding how domestic comfort becomes politically impossible while remaining phenomenologically necessary. The work stands as a testament to art's capacity to transform social analysis into spatial experience, creating images that think through the conditions of their own impossibility. <img width="3600" height="4712" width_o="3600" height_o="4712" data-src="https://freight.cargo.site/t/original/i/b805175244af4b6687b66e3b65678953d5948c7a890effed23006303857a7461/NEW_The-gathering--the-red-sofa_152x198cm_pigment-bar-on-linen_2020.jpg" data-mid="98540579" border="0" src="https://freight.cargo.site/w/1000/i/b805175244af4b6687b66e3b65678953d5948c7a890effed23006303857a7461/NEW_The-gathering--the-red-sofa_152x198cm_pigment-bar-on-linen_2020.jpg" /><img width="3600" height="5478" width_o="3600" height_o="5478" data-src="https://freight.cargo.site/t/original/i/218e740fac8f91b67e2ef4d648f6d4e57964958b11e03235fb32e72be0040b44/Detail_The-gathering--the-red-sofa_152x198cm_pigment-bar-on-linen_2020.jpg" data-mid="98540801" border="0" src="https://freight.cargo.site/w/1000/i/218e740fac8f91b67e2ef4d648f6d4e57964958b11e03235fb32e72be0040b44/Detail_The-gathering--the-red-sofa_152x198cm_pigment-bar-on-linen_2020.jpg" /><img width="2400" height="1600" width_o="2400" height_o="1600" data-src="https://freight.cargo.site/t/original/i/b58fd37687fee86eb2cc14f102de4fbdb71271c0b0ec1970f47d1716436186d7/small_DSC02107.jpg" data-mid="66773090" border="0" src="https://freight.cargo.site/w/1000/i/b58fd37687fee86eb2cc14f102de4fbdb71271c0b0ec1970f47d1716436186d7/small_DSC02107.jpg" /><img width="2690" height="2041" width_o="2690" height_o="2041" data-src="https://freight.cargo.site/t/original/i/f37fbe1325de00e3edf97c84f34e077d23b2efaf773d437c4836a46e7980f945/billboard1-1.jpg" data-mid="66771928" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/f37fbe1325de00e3edf97c84f34e077d23b2efaf773d437c4836a46e7980f945/billboard1-1.jpg" /><img width="6240" height="4160" width_o="6240" height_o="4160" data-src="https://freight.cargo.site/t/original/i/08a825158a0049bec3f3b666ad99f95f4ade6800ed2c05ad3a5f0514321ec451/Jaeyeol-Han-Gallery-BK_00007.jpg" data-mid="169338607" border="0" src="https://freight.cargo.site/w/1000/i/08a825158a0049bec3f3b666ad99f95f4ade6800ed2c05ad3a5f0514321ec451/Jaeyeol-Han-Gallery-BK_00007.jpg" /><img width="1387" height="1134" width_o="1387" height_o="1134" data-src="https://freight.cargo.site/t/original/i/b7de99eb7a6d2321b6b8925904b3259a865ed41e33162ae340249e46baf40000/1-mockup_red_sofa_v2-db7aeea3.jpg" data-mid="252891483" border="0" src="https://freight.cargo.site/w/1000/i/b7de99eb7a6d2321b6b8925904b3259a865ed41e33162ae340249e46baf40000/1-mockup_red_sofa_v2-db7aeea3.jpg" /> https://jaeyeolhan.com/The-Gathering-Miners Mon, 20 Apr 2020 17:32:07 +0000 Jaeyeol Han | Contemporary Painter https://jaeyeolhan.com/The-Gathering-Miners The Gathering, Miners&nbsp;— Project Bystanders 2020 Pigment Bar on Canvas195 x 130 cm Private collection<img width="3600" height="5348" width_o="3600" height_o="5348" data-src="https://freight.cargo.site/t/original/i/118362ec8ca1b6ff8f7cbb9fcdae0126cabc635337d0e6a59a3e7fef64a0baca/Painting_Editing_-20210217-035913-.jpg" data-mid="99526745" border="0" src="https://freight.cargo.site/w/1000/i/118362ec8ca1b6ff8f7cbb9fcdae0126cabc635337d0e6a59a3e7fef64a0baca/Painting_Editing_-20210217-035913-.jpg" /><img width="3600" height="2504" width_o="3600" height_o="2504" data-src="https://freight.cargo.site/t/original/i/d3451da55798b16da0646b514fcbe88e915c40b66da25167baa69abf4175876a/Painting_Editing-20210217-040645-.jpg" data-mid="99526670" border="0" src="https://freight.cargo.site/w/1000/i/d3451da55798b16da0646b514fcbe88e915c40b66da25167baa69abf4175876a/Painting_Editing-20210217-040645-.jpg" /><img width="3600" height="2400" width_o="3600" height_o="2400" data-src="https://freight.cargo.site/t/original/i/e2babf39eb02852e899caaca5840096679393ed54b2f55d39a0fdbe6255f635f/Painting_Editing-20210217-040733-.jpg" data-mid="99526671" border="0" src="https://freight.cargo.site/w/1000/i/e2babf39eb02852e899caaca5840096679393ed54b2f55d39a0fdbe6255f635f/Painting_Editing-20210217-040733-.jpg" /><img width="3600" height="3373" width_o="3600" height_o="3373" data-src="https://freight.cargo.site/t/original/i/7a1bc455439a8b64034d8682f69ead242f7fde0dd2b88bb83b4bec9844538a0e/Painting_Editing-20210217-051846-.jpg" data-mid="99526672" border="0" src="https://freight.cargo.site/w/1000/i/7a1bc455439a8b64034d8682f69ead242f7fde0dd2b88bb83b4bec9844538a0e/Painting_Editing-20210217-051846-.jpg" /><img width="6240" height="4160" width_o="6240" height_o="4160" data-src="https://freight.cargo.site/t/original/i/f3d12dc9673c10e26b34cc8ce70f0024c5b6ac8cf863256e64b1d6fcb6e0b17d/Jaeyeol-Han-Gallery-BK_00004.jpg" data-mid="169340161" border="0" src="https://freight.cargo.site/w/1000/i/f3d12dc9673c10e26b34cc8ce70f0024c5b6ac8cf863256e64b1d6fcb6e0b17d/Jaeyeol-Han-Gallery-BK_00004.jpg" /><img width="6240" height="4160" width_o="6240" height_o="4160" data-src="https://freight.cargo.site/t/original/i/2b3fd2aec39ef19b31174a66a10cd5ee9d33198e41f64b5721516a4cb7b8c6ba/Jaeyeol-Han-Gallery-BK_00005.jpg" data-mid="169340129" border="0" src="https://freight.cargo.site/w/1000/i/2b3fd2aec39ef19b31174a66a10cd5ee9d33198e41f64b5721516a4cb7b8c6ba/Jaeyeol-Han-Gallery-BK_00005.jpg" /> https://jaeyeolhan.com/The-Gathering-Bystanders Mon, 20 Apr 2020 17:32:04 +0000 Jaeyeol Han | Contemporary Painter https://jaeyeolhan.com/The-Gathering-Bystanders The Gathering, Bystanders&nbsp;— Project Bystanders 2020Pigment Bar on Canvas 194 × 130.5 cm Private collection<img width="1072" height="1600" width_o="1072" height_o="1600" data-src="https://freight.cargo.site/t/original/i/a415e5b48a249ebcabf0aadd703f8c926d52da983e7915f7f7973939052decf7/JPG_The-gathering--Bystanders_130x190cm_Pigment-Bar-on-Linen_2018.jpg" data-mid="67736911" border="0" src="https://freight.cargo.site/w/1000/i/a415e5b48a249ebcabf0aadd703f8c926d52da983e7915f7f7973939052decf7/JPG_The-gathering--Bystanders_130x190cm_Pigment-Bar-on-Linen_2018.jpg" /><img width="2288" height="4096" width_o="2288" height_o="4096" data-src="https://freight.cargo.site/t/original/i/14b7f5b2057b8f7eac2bd2ab6ea8f7a4c1a4482e6bb555b8255491661573bc2c/1-w49.jpg" data-mid="252960198" border="0" data-scale="48" src="https://freight.cargo.site/w/1000/i/14b7f5b2057b8f7eac2bd2ab6ea8f7a4c1a4482e6bb555b8255491661573bc2c/1-w49.jpg" /> https://jaeyeolhan.com/The-Gathering-a-Man-with-a-Bottle Mon, 20 Apr 2020 17:14:38 +0000 Jaeyeol Han | Contemporary Painter https://jaeyeolhan.com/The-Gathering-a-Man-with-a-Bottle The Gathering, a Man with a Bottle— Project Bystanders 2021 Pigment Bar on Canvas194 × 130.5 cm Private collection <img width="2500" height="3702" width_o="2500" height_o="3702" data-src="https://freight.cargo.site/t/original/i/a89831b171591150c8c1d3bf5cc8e2afb6beb4be790d5b8fc2a80b4e5b1c4f43/The-Gathering--a-Man-with-the-Bottle_194x130.5cm_Pigment-Bar-on-Canvas_2021.jpg" data-mid="124414910" border="0" src="https://freight.cargo.site/w/1000/i/a89831b171591150c8c1d3bf5cc8e2afb6beb4be790d5b8fc2a80b4e5b1c4f43/The-Gathering--a-Man-with-the-Bottle_194x130.5cm_Pigment-Bar-on-Canvas_2021.jpg" /><img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/823e88b211cc7571e335d2b96c374bbd0277ea6b58dd7b289cdb7cb48918da7b/Jaeyeol-Han-Gallery-BK_00007.jpeg" data-mid="146401471" border="0" src="https://freight.cargo.site/w/1000/i/823e88b211cc7571e335d2b96c374bbd0277ea6b58dd7b289cdb7cb48918da7b/Jaeyeol-Han-Gallery-BK_00007.jpeg" /><img width="6240" height="3989" width_o="6240" height_o="3989" 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