The Andrew Bae Gallery Collection has outstanding examples of
Asian Contemporary Art from Paintings to Sculpture, Photography and Print Media.
Jae Ko's seductive work occupies a space between writing and sculpting; this biomorphic form often looks like a swollen calligraphic mark. Though Ko leaves their interpretation to the viewer, she acknowledges personal references in their gestures.
From different artistic and cultural traditions, wife and husband artists Kyung Sook Koo and Ian Harvey bring their complementary perspectives to bear on the evolution of identity and the conception of the self.
Jungjin Lee’s large-format prints on handmade rice paper are often mistaken for charcoal drawings at first glance. She uses no digital technology to create the copies of her work. Rather, Lee uses the more traditional “liquid light” approach, by which she hand-brushes photosensitive emulsion onto handmade rice paper.
Young June Lew's richly worked textures in mixed media often incorporate elements of her daily life: the morning's coffee grounds, or handmade Korean paper stained with that coffee and applied onto canvas. Ms. Lew’s work similarly reflects her multi-sided character. The abstract works are "action paintings," done to provide explosive release of emotional energy. These are done largely without planning, each stroke dictated by her mood and circumstances at the time of creation.
Known for paintings drawn from Chinese historic photography, Hung Liu’s works focus on what she calls the “mythic poses” that underlay the phtographic surfaces of history. Representing such elemental human activities as laboring, eating, journeying, leaping, fighting, dreaming, and carrying one’s burden, these “mythic poses” come from particular historical circumstances, but seem epic, transhistorical, and allegorical in the her paintings.
Kwang Jean Park’s subject matter explores the Taoist concept of the Yin-Yang, or the cyclic and perpetual intermeshing of opposites. She employs binarisms such as “heaven and earth” or “light and dark” as metaphors for the more abstract metaphysical Yin-Yang concept, while often literalizing its binary nature by presenting her works in a diptych format.