Education
1976 Fine Arts, Choo-Ge Art University, Seoul

Solo Exhibition
2018  Able Fine Art NY Gallery, New York, USA
2017  Able Fine Art NY Gallery, Seoul, Korea
2017  Gallery Art Myuje, Seoul, Korea
2013  Able Fine Art NY Gallery, New York, USA
2013  Able Fine Art NY Gallery, Seoul, Korea
2012  HanaArt Gallery, Seoul, Korea
2011  Villa Haiss Museum, zell, Germany
2011  Soul Art Space, Busan, Korea
2010  Through Gallery, Seoul, Korea
2010  Gallery Live, Hanam, Korea
2010  HanaArt Gallery, Gallery, Seoul, Korea
2009  Gallery Chaes, Busan, Korea
2009  Bong Sung Gallery, Daegu, Korea
2009  Myeong Dong Gallery, Seoul, Korea
2007  Walter Bischoff Gallery, Berlin, Gemany
2007  HanaArt Gallery, I Park Department Store, Seoul, Korea
2005  Insa Art Center, Seoul, Korea
2005  Hans Gallery, Daegu, Korea
2004  Gallery 127, Paris, France
2003  Inthe Gallery, Yangpeong, Korea
2003  Asan Gallery, Seoul, Korea
2002  Intercontinental Hotel Live Gallery, Seoul, Korea
2001  Bom Gallery, Gwachun, Korea
1999  Gasan Gallery, Seoul, Korea
1998  Cast Iron Gallery, New York, USA
1996  Dongju Gallery, Seoul, Korea
1995  Insa Gallery, Seoul, Korea

Group Exhibition
2006  The reality of Painting and Sculpture Exhibition
2006  Gyungnam-do Provincial Art Museum, Changweon, Korea
2003  Art in Life Exhibition (CJ invitational) Insa Art Center, Seoul, Korea
2003  Human Emotions Exhibition, Insa Gallery, Seoul, Korea
2003  Japan Road Exhibition, Japan
1998  Wold Art New York Exhibition, Cast Iron Gallery, New York, U.S.A.
1996  International IMPACT Exhibition, Kyoto Municipal Art Museum,
Japan and approximately 300 other team events.

Art fair

2023  Context Miami, Miami, USA
2023  Aaf Singapore. Singapore
2023  Aaf Battersea Park. London UK
2023  Art on Paper. USA
2023  Aaf New York, USA
2023  Hampton Fine Art New York, USA
2023  AAF Sydney. Austria
2023  AAF hong kong_HONG kONG
2023  AAF Brussels. Belgium
2022  Red dot Miami. Miami  USA
2022  Aaf Singapore. Singapore
2022  Aaf Battersea Park. London UK
2022  Art on Paper. USA
2018 AAF Batersea, London, U.K
2017 KIAF, Seoul, Korea
2017 Stockholm Art Fair, Sweden
2017 Hwarang Art Festival, Seoul and Busan, Korea
2017  AAF Brussels, Belgium
2017  Le Sm'art, Aix-Provence, France
2016  Hong Kong Contemporary Art Show, Hong Kong
2015  LA Art Show, LA, USA
2015  AAF Hampstead Art Fair, London, England
2015  AAF Art Fair-Singapore, Singapore
2015  Art Fair Dubai, Dubai
2015  Art Fair Cologne 21, Cologne, Germany
2014  Art Collect Art Fair, Iran
2014  Art Fair Cologne 21, Cologne, Germany
2014  Hong Kong Contemporary Art Show, Hong Kong
2013  AAF New York, New York, USA
2013  AAF Mexico, Mexico
2013  AAF Hong Kong, Hong Kong
2012  AAF Art Fair-Singapore, Singapore
2011  Art Karlsruhe, Karlsruha, Germany
...
Artist Note
The title of my new series “Communication” refers to the connection of nature and human beings. We are all born genetically with an attraction to nature, yet we are unaware of this.

Regardless of the luxuries modern technology has afforded society, our souls remain unable to reach fulfillment through such indulgence. Therefore, I make the recommendation that one finds wholeness in nature. Through our communication with nature, we participate in observation, introspection and minimization, with the ultimate goal being absolute freedom.

Review
Transmitting the Sounds of Nature:
Recent Paintings by Joung Sook Kim
Robert C. Morgan
The recent paintings of artist Joung Sook Kim are related to both Eastern and Western styles of painting. She often employs Korean-style brushwork on Korean paper (hanji), a traditional paper made from ground mulberry leaves and the bark of Elm trees. Joung Sook Kim enjoys the texture and strength of this paper as a surface on which to apply her Chinese inks and acrylic pigments. Eventually she mounts the paper on to a stretched canvas, which gives it further support. While both her manner of brush painting and saturating paper with ink are derived from her training at Art University in Seoul, her color shapes are clearly reminiscent of those used by Abstract Expressionist painters in New York during the 1950s. Specifically, the work of chromatic painter Mark Rothko comes to mind.
Joung Sook Kim’s “Artist’s Statement” is lucid and to the point. She believes that nature, and the sounds associated with nature, are the fundamental basis of her art. Her paintings strive to become not only an embodiment of these phenomena, but also an expression of her desire to connect with her feelings in nature. Two of her recent paintings from this year (2013), numbered 12 and 13, express contrasting views related to this emotional point of view.  In Sound of Nature #12, she gives emphasis to the density of the ink as it has absorbed into the hanji. This expresses an important tenet from the ancient Tao Te Ching that light is perceived through darkness as darkness is perceived through light.  In Sound of Nature #13, one senses the veritable lightness of Joung Sook Kim’s brushwork as an extension of her interior sensitivity. In this painting, the viewer makes contact with lightness more than darkness. Each of these paintings is a variation of an essential idea found in nature as expressed in the writings of Lao-tse, the Chinese sage who introduced the concept of the Tao (or “the way”) in the 5th century B.C. (Zhou Dynasty).
The Sounds of Nature to which Joung Sook Kim refers can be found in trees, plants, clouds, animals, meadows, mountains, and human beings. She is extremely tied to the landscape of her homeland in Korea. Yet her paintings are not meant to illustrate the landscape or any object in particular. Rather they are abstract paintings that express a state of mind, an emotional mood, and a manner of Being.  In paintings numbered 9 through 11, Joung Sook Kim paints initially with black ink and later adds an acrylic square shape that partially cover the surface. The contrast between the lightness of her brush painting and the opacity of the acrylic squares (red and white) also relates to the paradox expressed in the Tao Te Ching. In this instance, what is hidden is revealed and what is revealed is also hidden.  Originally, this idea is found in nature. This further suggests that human nature is most advanced when it gives close attention to the ways of nature and to the change in the seasons. The seasons of nature and the sounds of nature are pervasive, whether they happen in a day or in a year.  They are always present, even if we forget to notice them. Joung Sook Kim’s paintings point in the direction of nature’s reality as the reality that has become the source of her expression.
Be silent and speculate in his paintings –
Kim JoungSook's <Communication>
Kim Chong Geun (Art Critic)
The elaborately trimmed screen is red and blue, occasionally black and white, with geometric shapes arranged without colliding against each other. In another work, there is a canvas space with a red color screen tightly woven with a string, and a neighboring color screen with a doodled triangular shape and a square in a colored form.
These works of this series, produced from the <Communication> series at the moment of viewing, unexpectedly make you think about something by digging deep into your heart. Above all, the abstraction of a uniform and simple pattern and form clearly comes up.
What is this?
The reason for its strong suction power seems to be probably due to the implicit message of contemplation, which is concisely and stealthily approaching.
The secret key to that attraction is that American art critic Robert Morgan, who has seen his work, has described "the color facade abstraction of New York reminds me of Mark Rothko". In that respect, Robert Morgan's idea was right.
Mark Rothko has already discovered true communication about art, "The fact that people cry when they treat my picture shows that I can communicate with the basic human emotions," and it is not difficult to understand that Kim Jong Sook has agreed with and accompanied the world of "communication" within such a flow.
His work tempts him to fall into his artistic soul while interacting closely with the irregularities created like a relief, the intense primary color of a smooth flat, and communicating closely with them.
Implicitly, this impressive message of Kim Jong Sook exists by communicating with a person who sees it, and suggests that it has real value of art piece.
In addition, Kim Jong Sook confirmed the truth that all arts eventually expand and grow as a final meaningful work by a viewer who appreciates the work.
The best transformation in contemporary art in the 20th century was the progress into abstract art that escaped from visual art.
It is abstract art and Kim Jong Sook's actual artistic language which showed that art can abandon the shape and form of objects that are visible and that the only formative elements of point, line, face, and color can be sufficiently good.
All the formative elements and tools she uses on the surface of the work perfectly reflect the characteristics of all these abstract arts.
As early as painting, "the bridge between the soul of a painter and the souls of the people watching it" (Delacroix), the artist eventually bridges the viewer's abstract and relies on their gaze.
What is more special to Kim Jong-sook is that the ideas of the oriental perspective permeate the concept of this abstract.
It is revealed in the silent attitude, method, and expression, which are totally uninteresting on the screen, and the author often mentioned the phrase 'hidden things are revealed and revealed things are also hidden' in the interviews related to morality.
It is also the main point of the artist that it is his central view of the world that it does not have to be direct to reveal a specific scene or object, which must reveal the state of the emotions, the mind, the mood, or the existence of the least.
The reason why the surface is placed on the canvas with various textures on the surface of Korean paper with the strength on the screen with the ink and acrylic paints, speaks for the formality and the color harmony of the primary color is the destination of the inside expression.

It is worth noting that the artist has consistently worked on the material and direction of expression while sticking to the essence of nature in <Nature Sound> for a long time. This is more so because the "sound" associated with it forms the basis of his work world.
So, if you think about the sound, it is the root and the background of the current <communication> language. The artist wants to embody this phenomenon in the form of color, the inner sound, the resonance.
Perhaps this is the artist's most primitive and fundamental expression of desire for nature.
Now she wants to "communicate" these messages in a more abstract language with others and with viewers.
The objects and shapes Kim Joung Sook dictated in the picture trees, plants, clouds, animals, bushes, and mountains are merely good tools for communicating with the others.
From this point of view, Kim 's works focus on the essence of nature philosophically, which is visually interpreted as having oriental naturalism and ideological system that places material and direction of expression on nature and its sound.
It is to <communicate> continuously with such deep and quiet inner echo that only reasonable attitude can share, not popular aesthetic value.
What is clear here is that Kim Jung Sook presents wisely and clearly the work of simplicity as the best value and beauty. And it is the only channel of communication and the abstract painting is the best to communicate to him. <Communication> rhetoric.
Paradoxically, "My art is not abstract. Like Mark Rothko, who said, "It is alive and breathe," it is meaningless to imitate the external form of nature, and it has the same value as declaring that you can get close to the "true nature" with the ability to penetrate the surface.
Now we need to think more godly in front of his work. Then, on her canvas, she raises all the emotional waves of joy, sorrow, frustration and glee. It is like the impression in front of Mark Rothko painting