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KIM Cheol Yu    

Journey to Nowhere#7,68x28inchs,Pen on P


Works and lives in Seoul Korea


2002     M.F.A. Sculpture,Brooklyn College,city Univ of New York,NY


2017     Journey to Nowhere, 아트비앤, 서울

2013     Solo Show"롯데갤러리,일산

2012     Nowhere “가인 갤러리,서울

2009     Delta Quadrant(Nowhere)” 샘터갤러리,서울

2008     Solo Exhibition of Recent Work” Slate Gallery-Brooklyn,NY

2003     Cue Art Foundation,Curated by Nikki S,Lee -New York,NY


2015     Journey to Nowhere”2인전,Art space Hue,파주

2014     Line-Drawing,우민아트센터,청주

2013     Culture nadam Festival, 몽골리아

2012     Culture Nadam Festival, 몽골리아


2011     Culture Nadam Festival” 몽골리아

              It’s All Good!! Apocalypse now” Sideshow,Brooklyn,NY

2010     Storytelling” infusion Gallery,Brooklyn,NY

              Memorial Sloan-Kettering Cancer Center” Brooklyn,NY

              ArtHamptons The International Fine Art Fair” Bridgehampton,NY

              GE 4th  Annual Asian Pacific American Art Exhibition”GE Head Quarter,Fairfield,CT

              Two Degrees of Separation” Gallery Satori,New York,NY

2009     Bridge Art Fair” New York,NY

2008     Bridge Art Fair” Miami,FL

              Next Art Fair” Chlcago,IL

2007     ACAF(Asian Contemporary Art Fair)" Pier 92, New York,NY

              Nowhere Here" Mikhail Zakin Gallery, NJ

              Out of Sight" Slate Gallery, Brooklyn,NY

              Art Auction to Benefit” Cue Art Foundation,New York,NY

2006     Pipe Lines” NARS Foundation,Brooklyn,NY

2005     Artville" 2x13 Gallery, New York,NY

              50 Artists” Mushroomarts,New York,NY

              Contemporary in New Jersey” FGS Gallery,Englewood,NJ

              Watercolor Show" Gallery Joe, Philadelphia, PA

              Evolving Pattern" Curated by Midori Yoshimoto, The Harold B,Lemmerman gallery New Jersey City University,NJ

              16 rooms”" Nars Foundation, Brooklyn, NY

              Isomorphosis" Mushroom Arts, New York,NY

              Surface Tention" 2x13 Gallery, New York,NY

2004     Green light in New York" Gallery Korea, New York,NY

2002     M.F.A. Thesis Exhibition" Brooklyn War Memorial ,Brooklyn, NY


2000    Charles Schwab Award


2013,2016 중구 중앙아시아타운,서울

2011 대매물도 ,통영시

2012 홀트 아동복지회 ,합정동 LIG 사옥, 서울


" Solo Exhibit of Cheol Yu Kim” Antiques And The Arts,November,2008

" Drawing Structure and Vision" by Fritz Drury,Joanne Stryker, 2007

" Unambiguous" Art World Digest, March 2006

" Not so Sketchy" by Roberta Fallen, October 2005, Philadelphia Weekly

" Cheol Yu Kim at Cue Art Foundation" by Jessica Ostrower,march 2004, Art In America

" Drawing Resurfaces"(The Obsessive) by Hanya yanagihara, Nov 2004, Departure Magazine

" Cool Hunting" by Josh Rubin ,Oct 2003, Cool Hunting.


I grew up in a small rural village that was embraced by layers of mountains. The mountains also embraced the dividing line of South and North Korea. No one in the village talked about the line; it was just a thorny part of our simple lives. Things were definitely slower and simpler there. The distinction between reality and imagination was vague and blurred.

  The mountains provided the village with numerous flying objects. Therefore, seeds, leaves, insects, birds, balloons, planes, helicopters or UFO's, anything that flies in the air has attracted me since early childhood. I remember spending hours following thousands of colorful balloons in the sky that came from the North and contained political leaflets.


I spent hours trying to catch insects, birds, balloons, and boxes coming from planes, anything that flew. These images overpowered me in my dreams. If I could fly, would I be able to fight against those images? I was often aware that I was dreaming, usually about see-through flying dishes attacking my village. Other times I simply dreamt about flying. Because I knew I did not have wings, I had to use my arms.

  Because I knew I could not fly, I had to go through a lot of exercise to learn. Even in dreams I could not escape my reality; tings were still defined and regulated by an overpowering world. I had to put extra effort into creating my own definition and my own law, using visual images.

  My memories and experiences are intermingled with my imagination and dreams. It is often unclear what is real and what is not. I find it hard to draw a line between the real and the imaginary, and that line is where I start. My work arises from the boundaries of what is familiar and what is not. It helps me deal with life better, one step at a time.

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