The installation view of the exhibition, Courtesy of Arario Gallery
Arario Gallery Cheonan presents Unbo Kim Ki Chang, a comprehensive retrospective that revisits the expansive and transformative career of one of Korea’s most influential modern painters, Kim Ki Chang (1914–2001). Running from February 18, 2025, to March 22, 2026, this major exhibition explores the breadth of Unbo’s seven-decade career, charting his pioneering role in modernizing traditional Korean painting while reflecting on his profound artistic legacy.
Kim Ki Chang, widely known by his pen name Unbo (雲甫), is celebrated for his innovative efforts to bridge Korea’s rich artistic traditions with modern sensibilities. Having lost his hearing at the age of eight due to a severe illness, Unbo transformed the silence imposed upon him into a heightened visual awareness. This profound shift is evident in his dynamic brushstrokes, powerful compositions, and acute sensitivity to visual rhythm—hallmarks that defined his art throughout his life.
The exhibition spans Unbo’s entire career, from his early works in the 1930s to his late-period explorations in the 1990s, providing a panoramic view of his artistic evolution. The curation highlights his commitment to pushing the boundaries of Korean painting, his experimentation with abstraction and modern forms, and his continuous dialogue between tradition and innovation.
The installation view of the exhibition, Courtesy of Arario Gallery
Unbo’s early works reflect his formal training under Kim Eun Ho, a master of traditional Korean painting. By the age of 17, Unbo had already begun making waves in the Korean art world, receiving numerous accolades at the Joseon Art Exhibition, including the prestigious Changdeokgung Prize. During this formative period, he focused primarily on realistic depictions within landscape and figure painting. However, his artistic path would soon veer toward experimentation and abstraction, driven by a desire to modernize Korean painting.
Post-liberation, Unbo entered a period of prolific exploration, significantly influenced by his marriage to fellow artist Park Rae Hyun (1920–1976). The couple’s shared passion for innovation led to the development of Cubist-inspired compositions and semi-abstract works that challenged traditional Korean painting norms. One of the highlights of this era is the Life of Jesus series (1952–1953), where Unbo reimagines biblical narratives through a distinctly Korean lens, transforming Western religious iconography into Joseon-era scenes. This series, comprising 30 pieces, was groundbreaking in its cultural hybridization and remains a hallmark of his career.
In the late 1950s, Unbo’s work evolved further into abstraction, notably through his Munjado series, where he deconstructed Chinese characters into bold, expressive brushstrokes. His fascination with calligraphy, combined with his instinctive handling of ink and paper, allowed him to blur the line between text and image, paving the way for new interpretations of Korean painting’s potential.
The installation view of the exhibition, Courtesy of Arario Gallery
The exhibition also shines a spotlight on Unbo’s masterful Hwajoryeongmodo (bird-and-flower paintings), which exemplify his dynamic style and unparalleled control of the brush. Iconic works such as Gumma-do (Horse Painting, c. 1950s–1960s) and Night Owl (1972) are prime examples of Unbo’s ability to infuse vitality and movement into his subjects, his forceful yet precise brushwork breathing life into animals and natural scenes.
After the passing of his wife in 1976, Unbo entered a deeply introspective phase, leading to the creation of his Foolish Landscape series (Babosan-su), where he embraced the playful humor and simplicity of Korean folk art (minhwa). In the 1980s, his Cheongnok Sansu (Blue-Green Landscape) series showcased sweeping mountain scenes saturated in bold, vibrant greens and blues—an homage to classical Korean landscape traditions yet executed with his modern flair.
In his later years, Unbo continued to innovate, pushing the boundaries of his medium. In the early 1990s, he produced the Dots and Lines series, where he used a mop soaked in ink to create large-scale, abstract canvases, merging the act of painting with physical movement, and stripping Korean ink painting down to its elemental gestures.
The installation view of the exhibition, Courtesy of Arario Gallery
This retrospective also highlights the artistic synergy between Unbo and Park Rae Hyun, showcasing select works from Park’s career. Notably, the collaborative four-panel screen Wisteria and Sparrows (1950s) stands out as a rare joint effort, combining Park’s bold and energetic depiction of wisteria with Unbo’s delicate rendering of sparrows. Park’s forays into abstraction, particularly her works Anxiety (1962) and Work (1960s), reflect her experimentation with Art Informel, characterized by layered color fields and dynamic textures.
Unbo Kim Ki Chang not only revisits the remarkable life and legacy of an artist who reshaped modern Korean art but also celebrates his relentless pursuit of innovation. Despite early acclaim, Unbo never ceased to experiment, constantly challenging himself and the conventions of Korean painting. His journey from traditionalist to modernist, and his unique ability to infuse emotion and energy into every brushstroke, cement his status as a pillar of Korean art history.
Sayart / Maria Kim, sayart2022@gmail.com
The installation view of the exhibition, Courtesy of Arario Gallery
Arario Gallery Cheonan presents Unbo Kim Ki Chang, a comprehensive retrospective that revisits the expansive and transformative career of one of Korea’s most influential modern painters, Kim Ki Chang (1914–2001). Running from February 18, 2025, to March 22, 2026, this major exhibition explores the breadth of Unbo’s seven-decade career, charting his pioneering role in modernizing traditional Korean painting while reflecting on his profound artistic legacy.
Kim Ki Chang, widely known by his pen name Unbo (雲甫), is celebrated for his innovative efforts to bridge Korea’s rich artistic traditions with modern sensibilities. Having lost his hearing at the age of eight due to a severe illness, Unbo transformed the silence imposed upon him into a heightened visual awareness. This profound shift is evident in his dynamic brushstrokes, powerful compositions, and acute sensitivity to visual rhythm—hallmarks that defined his art throughout his life.
The exhibition spans Unbo’s entire career, from his early works in the 1930s to his late-period explorations in the 1990s, providing a panoramic view of his artistic evolution. The curation highlights his commitment to pushing the boundaries of Korean painting, his experimentation with abstraction and modern forms, and his continuous dialogue between tradition and innovation.
The installation view of the exhibition, Courtesy of Arario Gallery
Unbo’s early works reflect his formal training under Kim Eun Ho, a master of traditional Korean painting. By the age of 17, Unbo had already begun making waves in the Korean art world, receiving numerous accolades at the Joseon Art Exhibition, including the prestigious Changdeokgung Prize. During this formative period, he focused primarily on realistic depictions within landscape and figure painting. However, his artistic path would soon veer toward experimentation and abstraction, driven by a desire to modernize Korean painting.
Post-liberation, Unbo entered a period of prolific exploration, significantly influenced by his marriage to fellow artist Park Rae Hyun (1920–1976). The couple’s shared passion for innovation led to the development of Cubist-inspired compositions and semi-abstract works that challenged traditional Korean painting norms. One of the highlights of this era is the Life of Jesus series (1952–1953), where Unbo reimagines biblical narratives through a distinctly Korean lens, transforming Western religious iconography into Joseon-era scenes. This series, comprising 30 pieces, was groundbreaking in its cultural hybridization and remains a hallmark of his career.
In the late 1950s, Unbo’s work evolved further into abstraction, notably through his Munjado series, where he deconstructed Chinese characters into bold, expressive brushstrokes. His fascination with calligraphy, combined with his instinctive handling of ink and paper, allowed him to blur the line between text and image, paving the way for new interpretations of Korean painting’s potential.
The installation view of the exhibition, Courtesy of Arario Gallery
The exhibition also shines a spotlight on Unbo’s masterful Hwajoryeongmodo (bird-and-flower paintings), which exemplify his dynamic style and unparalleled control of the brush. Iconic works such as Gumma-do (Horse Painting, c. 1950s–1960s) and Night Owl (1972) are prime examples of Unbo’s ability to infuse vitality and movement into his subjects, his forceful yet precise brushwork breathing life into animals and natural scenes.
After the passing of his wife in 1976, Unbo entered a deeply introspective phase, leading to the creation of his Foolish Landscape series (Babosan-su), where he embraced the playful humor and simplicity of Korean folk art (minhwa). In the 1980s, his Cheongnok Sansu (Blue-Green Landscape) series showcased sweeping mountain scenes saturated in bold, vibrant greens and blues—an homage to classical Korean landscape traditions yet executed with his modern flair.
In his later years, Unbo continued to innovate, pushing the boundaries of his medium. In the early 1990s, he produced the Dots and Lines series, where he used a mop soaked in ink to create large-scale, abstract canvases, merging the act of painting with physical movement, and stripping Korean ink painting down to its elemental gestures.
The installation view of the exhibition, Courtesy of Arario Gallery
This retrospective also highlights the artistic synergy between Unbo and Park Rae Hyun, showcasing select works from Park’s career. Notably, the collaborative four-panel screen Wisteria and Sparrows (1950s) stands out as a rare joint effort, combining Park’s bold and energetic depiction of wisteria with Unbo’s delicate rendering of sparrows. Park’s forays into abstraction, particularly her works Anxiety (1962) and Work (1960s), reflect her experimentation with Art Informel, characterized by layered color fields and dynamic textures.
Unbo Kim Ki Chang not only revisits the remarkable life and legacy of an artist who reshaped modern Korean art but also celebrates his relentless pursuit of innovation. Despite early acclaim, Unbo never ceased to experiment, constantly challenging himself and the conventions of Korean painting. His journey from traditionalist to modernist, and his unique ability to infuse emotion and energy into every brushstroke, cement his status as a pillar of Korean art history.
