Art Fairs

KIAF 2026

September 2 — 6, 2026

COEX, Seoul, Korea

HIVE ART FAIR 2026

May 20 — 23, 2026

COEX Magok, Seoul, Korea

LEE & BAE is profoundly pleased to present Hyeryun Jung’s seminal work, Living like Water, at the inaugural edition of the Hive Art Fair. By intersecting and visualizing water pollution datasets with virtual media, this oeuvre operates as an experiential inquiry that interrogates the contemporary ecological crises confronting humanity and the natural world. The title of the work borrows from Laozi’s philosophical doctrine of shangshan ruoshui (上善若水, "The highest efficacy is like water"), which posits the necessity of reverting to the primordial and intrinsic states of human and natural existence. Through this conceptual framework, the artist endeavors to transcend a superficial apprehension of water, thereby facilitating a profound ontic reflection upon the foundational roots of being. Water, the quintessential matrix of life, has paradoxically mutated into an existential threat to our survival, exacerbated by unbridled industrial expansion and anthropogenic environmental degradation. Within the exhibition space, viewers are invited to empirically gauge pollution levels at specific geographical coordinates via a localized hydrological map. This empirical data is subsequently transmuted into an array of sublime, organic moving images projected onto a monumental circular screen suspended above the gallery. Within this virtual cosmos, the simulated organic matter perpetually undergoes processes of synthesis and decomposition, orchestrating its own algorithmic laws and synthesizing an emergent structural order for survival. This generative process serves as a critical critique, elucidating the hubris of human rationality and technoscientific determinism, which fail to unilaterally resolve or regulate the complex exigencies of the planetary ecosystem. Ultimately, the work compels the spectator to confront the unsettling reality that humanity has already crossed the threshold into uncharted ontological territories—evoking the paradigms of the Anthropocene and the Chthulucene.

Art Monte-Carlo 2026

April 27 — 30, 2026

Grimaldi Forum Monaco

LEE & BAE presents five Korean contemporary artists-Sungjae Lee, Bongsang Yoo, Seunghee Lee, Sungpil Chae and Sangmin Lee-at Art Monte-Carlo 2026. Sungjae Lee constructs geometric structures through meticulous manual labor, bringing into visibility things that have been forgotten or have disappeared, as well as people and landscapes so ordinary that they often go unnoticed. He lingers on the lives of mothers who have quietly lived like air or soil while tending to household work, and on the feelings of children that have been dismissed as “trivial.” Bongsang Yoo creates dreamlike landscapes using hundreds of thousands of tiny pins. He reconstructs residual traces of perception—accumulated impressions of time—bringing them back to the surface. His work is built through slow, meditative repetition, hammering countless headless pins into panels. These pins form topographies, define direction, and create textures that interact with light and shadow. This entirely manual and physical process emphasizes not emotion or narrative, but labor itself. Each consistent strike, interval, and angle functions not merely as craft, but as a structural operation. Seunghee Lee’s ceramic paintings can be understood as the culmination of decades of artistic exploration, as well as a pioneering vision that challenges conventional frameworks. Through increasingly refined repetitions and layered applications of slip, his work reaches a fundamental state in which ornamentation and narrative are absorbed into a unified form—embodying an Eastern minimalism that approaches the essence of ceramics. Sungpil Chae expresses the origin of nature through the forms of earth and water. Rather than crafting images through controlled, artificial techniques, he allows the traces left by earth and water to create organic, spontaneous forms. To him, earth is more than a material—it is a site of history, the foundation of human existence, and a symbol of both cultural identity and universal continuity. Earth becomes pigment through its interaction with water, and it is with water that the painting takes form. Even when the water has fully evaporated, it leaves behind marks. The final works embody not only images of nature but the very essence of primordial space. The glass paintings of Sangmin Lee, who explores the aesthetics of light and shadow in his Ceramic Series, prompt self-reflection by engaging with the patience and will accumulated over time, beyond easily perceived surface images. Experiencing this evolving flow of thought through his artistic practice offers a meaningful encounter.

Art Brussels 2026

April 22 — 25, 2026

Brussels Expo, Brussels, Belgium

LEE & BAE will present an exhibition titled 'Between Layers: Materializing Time' at Art Brussels 2026, an exhibition featuring four Korean artists whose works inscribe the traces of time into material, revive memory through sensory experience, and visualize invisible inner worlds. Through the use of layered media such as glass, hanji (traditional Korean paper), clay, and epoxy resin, the artists create intersections between universality and specificity, individuality and collectivity, emotion and contemplation. Hyunsik Kim evokes spatial and emotional depth beyond the visible surface using transparent resin and etched lines, expressing the silent accumulation of time. Lee Eun paints seascapes with soil and clay, layering memory and sensory experience onto sculptural surfaces that echo the rhythm of waves and breath. Sangmin Lee’s Ceramic Series explores the aesthetics of light and shadow through glass painting, inviting self-reflection by embodying perseverance and willpower built up over long periods far beyond surface-level imagery. Kwangik Song works with Korean hanji, allowing the natural grain and fiber of the paper to guide compositions that shift between control and chance, stillness and motion. Together, these artists propose a meditative space in which time is not linear but cyclical, not fixed but felt. Through repetition, physical layering, and the accumulation of gestures, the booth suggests time itself as both subject and medium. By grounding abstract ideas in tactile processes and material specificity, Between Layers: Materializing Time offers a subtle and poetic entry point into contemporary Korean art rooted in personal introspection and collective resonance.

EXPO Chicago 2026

April 8 — 11, 2026

Navy Pier, Chicago, USA

At EXPO Chicago 2026, LEE & BAE presents a booth that foregrounds the craftsmanship and material sensibility of four Korean contemporary artists. Working across glass, ceramics, pins, and hanji, each artist engages in a sustained and disciplined process through which time, labor, and material become inseparable. The glass paintings of Sangmin Lee, who explores the aesthetics of light and shadow in his Ceramic Series, prompt self-reflection by engaging with the patience and will accumulated over time, beyond easily perceived surface images. Experiencing this evolving flow of thought through his artistic practice offers a meaningful encounter. Seunghee Lee’s ceramic paintings can be understood as the culmination of decades of artistic exploration, as well as a pioneering vision that challenges conventional frameworks. Through increasingly refined repetitions and layered applications of slip, his work reaches a fundamental state in which ornamentation and narrative are absorbed into a unified form—embodying an Eastern minimalism that approaches the essence of ceramics. Bongsang Yoo creates dreamlike landscapes using hundreds of thousands of tiny pins. He reconstructs residual traces of perception—accumulated impressions of time—bringing them back to the surface. His work is built through slow, meditative repetition, hammering countless headless pins into panels. These pins form topographies, define direction, and create textures that interact with light and shadow. This entirely manual and physical process emphasizes not emotion or narrative, but labor itself. Each consistent strike, interval, and angle functions not merely as craft, but as a structural operation. Kwangik Song works primarily with paper, especially hanji—traditional Korean paper made from the inner bark of paper mulberry trees—which embodies time shaped by sunlight, wind, and the breath of the land. Once the direction of a work is set, his consciousness and body become fully immersed in the process. His suspended compositions, structured through thread-like flows of time, subtly vibrate in the gaps between pieces of hanji. The verticality of the paper creates depth, generating shifting lines and planes.

Galleries Art Fair 2026

April 7 — 11, 2026

COEX, Seoul, Korea

LEE & BAE presents the solo booth of Haiying Hu at 2026 Galleries Art Fair. Haiying Hu is an artist who uses the traditional Chinese blue porcelain pigment method to express a modern interpretation of scenery. The "Landscape" series, created with the artist's unique expression method, offers a new modern aspect of Chinese ceramics through her ink painting and monochromatic style, which have not been experienced before. Traditional themes combined with a modern sensibility are clear points at her creation, prompting her to simplify the outlines. Her artworks appear as long, continuous patchwork banners without frames, allowing for an infinite daydream and extending the meaning of landscapes within a limited space. They not only depict scenery, but also reflect the landscape of the hearts of those who view her works.

BAMA 2026

April 1 — 4, 2026

BEXCO, Busan, Korea

LEE & BAE presents three Korean contemporary artists-Sungjae Lee, Seungtaik Jang, and Jinwook Yeom-at BAMA 2026. Sungjae Lee constructs geometric structures through meticulous manual labor, bringing into visibility things that have been forgotten or have disappeared, as well as people and landscapes so ordinary that they often go unnoticed. He lingers on the lives of mothers who have quietly lived like air or soil while tending to household work, and on the feelings of children that have been dismissed as “trivial.” Seungtaik Jang’s Layer Colors Painting series builds up layers of acrylic paint through countless repeated brushstrokes, forming a profound darkness reminiscent of an abyss. Each brushstroke functions as an individual moment, and this process of constructing immeasurably transparent layers entails contentious issues surrounding the structural qualities of painting. In this context, the artist’s pictorial act constitutes a response to the ways in which the world and time exist as perceived by humans. Jinwook Yeom’s Memory of Mountain series is a profound portrayal of timeless, absolute freedom through delicate and tranquil brushwork. She uniquely expresses perception in front of landscapes that resist depiction. Her work blurs the boundaries, dissolving distinctions between object and object, viewer and viewed, opening up new dimensions of perception. Her paintings do not simply present something to be seen—they place us within the act of seeing itself.

ZⓈONAMACO 2026

February 3 — 7, 2026

Banamex Center, Mexico City, Mexico

Lee & Bae will present “Silent Substance: Time, Light, and Matter” at ZⓢONAMACO 2026, an exhibition featuring five contemporary Korean artists: Seunghee Lee, Sangmin Lee, Jinwook Yeom, atelierJAK and Bongsang Yoo. Each artist explores the language of material, time, and perception in their own distinct way. Utilizing diverse media ceramics, glass, natural fibers, and nails, they share a common aesthetic grounded in silence, structure, and sensory resonance. Seunghee Lee’s ceramic paintings emphasize visual minimalism and material refinement. His “Like Paper” series marks a departure from traditional ceramics; rather than forming vessels or pictorial imagery, He uses thin ceramic slabs to evoke profound depth without employing perspective or illusion. His artwork is the result of years of artistic experimentation and a pioneering spirit that challenges preconceived notions of the medium. Jinwook Yeom composes forest like forms through monochromatic brushstrokes, constructing painterly spaces that reject fixed perspectives and instead embrace rhythm, flow, and breath. Sangmin Lee’s “Ceramic Series” glass paintings examine the aesthetics of light and shadow. His work prompts quiet introspection, revealing traces of human patience and perseverance that transcend easily consumable surface imagery. His light-infused glass pieces speak to time’s slow, accumulative nature. Bongsang Yoo gazes into shadowy forests, yet within the darkness his works emit a quiet light. Composed of countless 7mm nails, the densely layered surfaces produce shadows and subtle illuminations that shift depending on the viewer’s position and mood, whether observed up close, from afar, or at an angle, making perception a vital part of the work itself. In a world dominated by excess information and accelerating speed, these five artists return to elemental matter. Clay becomes the memory of the earth; glass holds traces of light and time; color dissolves form; and shadow evokes presence. This exhibition reveals the silent substance, an understated yet powerful resonance that ties these varied practices together. These works do not shout, yet their silence carries profound depth. In this booth, visitors are invited into a quiet space where they may encounter time, materiality, and the essence of being

Art Geneve 2026

January 28 — 31, 2026

Palexpo Geneve convention center, Geneve, Switzerland

Between Light and Substance: Dialogues of Nature, Time, and Existence Lee & Bae’s booth for Art Genève 2026 brings together five distinctive artistic voices; Boree Hur, Sangmin Lee, Jinwook Yeom, Bongsang Yoo, and Seunghee Lee, each exploring the thresholds where materiality encounters immateriality, and where nature, time, and human experience are reimagined through art. Together, they form a resonant dialogue that opens the visible world into deeper realms of perception. Boree Hur transforms everyday fabrics and painterly gestures into metaphors of the human body and the cycles of birth and death. Beginning with the tangled vitality of forests and seas, she translates their overwhelming energy into dense compositions that oscillate between serenity and turbulence. By incorporating materials such as work clothes, bedding, or traditional Korean textiles like Sochang, Hur imbues her works with a tactile presence that blurs the line between painting and sculpture. Her practice suggests that the traces of life, garments worn, fabrics softened through use, become vessels of memory and embodiment, reshaped into forms that speak of resilience, vulnerability, and transformation. Sangmin Lee explores the “inner world of all things” through labor intensive carvings on thick glass sheets. His process grinding and polishing glass surfaces by hand with diamond sandpaper, resembles an act of meditation or self-discipline. Within his works, light becomes an essential medium, revealing hidden essences and collapsing the boundaries between past and present. Shadows refract and overlap like mirages, evoking layered temporalities and elusive realities. For Lee, glass is not merely a vessel but a site where memory, presence, and the immaterial converge, allowing viewers to experience the silent dialogue between substance and light. Jinwook Yeom dismantles fixed perspectives in her forest paintings, replacing conventional landscape representation with fluid monochrome structures. Her canvases, composed of rhythmic brushstrokes and tonal gradations, immerse the viewer in an environment that is both structured and boundless. Rejecting linear readings, Yeom’s forests unfold dynamically from sky to earth, from light to shadow inviting the gaze to wander freely. Her work challenges the boundaries of painting as a flat medium, transforming it into a perceptual field where nature becomes a metaphor for multiplicity, transience, and open-ended interpretation. Bongsang Yoo constructs ethereal landscapes using an unexpected medium: steel nails. With over 300,000 precisely aligned pin nails, he creates shadowed depths that flicker with subtle light. His works often depict dark, dense forests where fragile illuminations emerge, suspended between melancholy and hope. The industrial weight of nails paradoxically gives rise to delicate, dreamlike images that shift with the viewer’s position and mood. Yoo resists prescribing meaning, instead inviting silent contemplation. His luminous shadow-worlds are not declarations but spaces of quiet resonance fragile, yet gently illuminating the path of reflection. Seunghee Lee bridges cultural tradition and contemporary sensibility through his mastery of ceramics. Trained in both Korean and Chinese traditions, and rooted in Jingdezhen’s historic porcelain practices, Lee reinterprets East Asian ceramic heritage with innovative forms and series such as Porcelain Paintings, Space of 8mm, and Bamboo. His works embody both continuity and experimentation: the fragility of porcelain is paired with sculptural boldness, and the weight of history is infused with fresh interpretations. In doing so, Lee situates his practice within a dialogue of time, cultural lineage, and material transformation. Together, these five artists create an immersive environment where light and shadow, vitality and stillness, memory and renewal converge. The booth is conceived as a contemplative space a journey through textures, materials, and temporalities that encourages viewers to reflect on the fragility and resilience of life, and on the unseen layers of existence beneath surface appearances

Art SG 2026

January 22 — 24, 2026

Marina Bay Sands, Singapore

LEE & BAE is pleased to present ‘Traces Woven in Medium’ at Art SG 2025, an exhibition featuring the works of three artists—Sangmin Lee, Eun Lee, and Myunggyun You—who explore layered perceptions of time, memory, and sensation through distinctive media. Their chosen media—glass, clay, fiber, and mixed media from nature—serve not merely as tools of form-making but as vessels for sensory memory and existential awareness. The exhibition traces the imprints embedded within the materiality of medium, highlighting how each artist’s language resonates through the worlds woven in medium. Sangmin Lee engages in a meditative process of carving and polishing glass, investigating the convergence of sensory perception and the condensation of time into form. For him, glass is not simply a transparent substance, but a material conduit—a passage toward the intersection of accumulated memory and presence. Through repetitive, ritual labor on the reverse surface of glass, the artist shapes forms of porcelain, allowing latent temporal strata and sensory memories to emerge. The material’s physical interaction with light—its capacity to both reveal and obscure—further amplifies its presence. Light filters through, reflects off surfaces, and casts shadows, thereby shaping a spatial dimension beyond the object itself. In this way, Lee makes visible the liminal boundaries between past and present, perception and being. Lee Eun paints the sea with clay. She conveys the sea’s fluidity—its trembling under wind, its fragmentation under light—by applying blue pigment onto rough, warped ceramic fragments. Though each clay slab is initially cut to identical dimensions with rulers and knives, they warp unpredictably in the kiln— embodying the intervention of time and nature’s quiet order. The landscape, shaped through repeated firings and layering of pigment, is abstract yet anchored page 1 of 2 in sensory memory. Her sea does not depict a specific scene; it reflects a subjective encounter—a projection of memory, shaped by personal experience. For the artist, the sea embodies both the point of departure from a former life and an emotional anchor that helps her endure the present. Her work presses time into clay and sculpts memory into tactile form. Myunggyun You explores the boundaries of self and the diffusion of sensation through fiber and mixed materials from nature. Rooted in a questioning of selfhood, his practice gestures toward an uncontrollable, expansive self that dissolves into the larger rhythms of nature. His works, composed of intricately entangled materials imbued with traces of time and memory accumulated in the earth—the origin of all things—evoke forests or vegetation. Transcending the dichotomy of the two-dimensional and three-dimensional, they radiate a density and vitality as if a fragment of nature itself has been brought into the space. In this way, the work becomes a spatial entity, enveloping the viewer. In observing these organic forms, the viewer perceives the otherwise intangible sprawl of nature, and in doing so, senses the self as part of an infinite ecological continuum

Art Miami 2025

December 1 — 6, 2025

Art Miami Pavilion, Miami, USA

The Architecture of Boundaries: Light, Reality, and Desire LEE & BAE's booth invites viewers to a contemplative space where the boundaries of time, perception, and desire converge. Through three distinct artistic lenses, we explore the "inner world" of existence that lies beneath the surface of what we see. Sangmin Lee opens this dialogue by utilizing light as a medium to reveal the invisible. Through the meticulous labor of carving and polishing 12mm glass sheets, he captures the moment where the past and present overlap. The refraction of light within the glass creates shadows that sway like mirages, transforming a physical object into a vessel for spiritual reflection and the exploration of an essence that transcends time. Building on this exploration of perception, atelierJAK examines the modern intersection of digital and analog worlds. By deconstructing social reality through digital media and reconstructing it in analog form, the artist duo highlights the instability of human perception. Their work prompts a fundamental questioning of truth in a society flooded with information, encouraging the audience to navigate the hazy line between what is real and what is merely a phenomenon. Finally, Hyojin Park delves into the emotional weight of these boundaries through her "beautifully grotesque" sculptures. By juxtaposing classical icons of paradise with vibrant, yet "castrated" fake flowers, she portrays the sorrow of unattainable desire. Her works represent a failed paradise—one that is redder than blood and brighter than gold, yet remains eternally frozen, reflecting the tragic beauty of human longing. Together, these artists challenge the viewer to look beyond the immediate. From Lee’s meditative light and atelierJAK’s philosophical deconstruction to Park’s feast of desire, this booth serves as a profound investigation into the complex layers of reality that define our contemporary existence.