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	Sunny kim - Rolling Fog GALLERY HYUNDAI (New Space) 2010.04 My first encounter with Sunny Kim's “Girls in Uniform” series was from her 2001 Gallery Sagan exhibition. At the time, her work, which mostly originated from documentary sources suggestive of standardized types, was transformed to deliver an artificial formality akin to graphic images. There was a certain intentional barrier that evoked a sense of absence and a feeling of cold detachment, and the fact that one could not find any youthful energy nor movement in the uniformed smiling girls made the paintings different.
	Kwangho Lee - Inter-View in Changdong Changdong Art Studio 2006.04 To Lee, Kwang-Ho, the canvas is a window through which he has an on-going dialogue with the objects painted. In addition, his way of relating to others is presented using different media. This characteristic is most distinct in his recent series of portraits that are combined with some objects and video installations.
	Geun Taek Yoo - Geuntaek Yoo Solo Exhibition Dong San Bang Gallery 2007.03 To begin with, one can say that the characteristics of Yoo Geuntaek's painting emerge from the materials, the texture and vitality in his work. Most of his work is done by painting on paper with chalk powder and Indian ink, and his technical practice has become more sophisticated in his recent work. The boldly sliding repetitive strokes, the sense of materials in softly colored surfaces with chalk powder, the expanding patterns like waves, the sharp but loose shapes as a glimmering apparition, especially the brush stroke making rhythmical moves as blurry snap photo shots; all of these construct an exquisite sense in Yoo's painting.
	Byoungho Kim - Assembled Fantasy Weibang Gallery 2008.06 Media artist Byoung-ho Kim designs a fantasy. He regards it not only as a desire of a human being but something under the control of one. He is convinced there is a fantasy in every creature by all means, so constantly coordinates, adapts, and arranges it as a desire. Therefore, the more intense a desire grows, the more sophisticated a fantasy becomes, and eventually arouses such a nuance of a commodity as a ‘ready-made.’ A work of Byoung-ho Kim is not the representation of a desire but the result of it.
	Myungjin Song - Green Home Rho gallery 2007.07 Beginning from the 2005 exhibition titled "Surface of Landscape", there have been familiar motifs such as bridges, bushes and so on. Being representational yet unrealistic, they allowed a trial to overlap the real images and the painted ones in an attempt to catch a better glimpse of the paintings.
	Sunny kim - Girls in Uniform Gallery Sagan 2001.05 Sunny Kim's paintings move from sublime to unfeeling in an instant. In her world, human frailty flickers within the four corners of enormous historical realities. Realities where uniforms (military, academic, professional) are the vehicle, source, and subject of meaning. Nonetheless, this unrelenting uniform world is also hyperbolic, fantastic, even ironic. The sparse spaces of Kim's depictions become a waiting veneer susceptible to the unique projections of its inhabitants.
	Bomin Kim - The Settlement doART Gallery 2006.12 First, let us visit the studio in <Open Studio (2004)>. There is a desk. A pile of two books and an open one are on the desk. And a chair is laid askew. These things are described with lines as Kim BoMin has usually done in her earlier works. Of course, she did not draw the lines. She attached the line tape. All these things are covered with a kind of fog of Korean ink which is emitted from the cotton cloth.

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