JANG WOOSUK
ARTIST BIO & STATEMENT
Jang Woosuk, a Korea-based artist, explores post-history imagery through his innovative "stamp painting" technique. His work examines how contemporary images can integrate with traditional oil painting.
Jang mass-produces stereotypical images reflecting modern culture, such as puppies, handguns, octopuses symbolizing corporate conglomerates, and other capitalist icons. Unlike Renaissance, Baroque, Impressionist, or Pop Art styles, his compositions create a chaotic yet balanced "Chaosmos," blending disorder and structure.
To challenge West-oriented, male-dominated, and Eurocentric narratives, Jang merges Eastern stamp engraving with Western brush painting. His decentralized, pattern-free collages promote egalitarianism, dissolving cultural and national boundaries. His art embodies the coexistence of East and West, chaos and order—ideals he believes are essential to 21st-century humanity.
Jang has exhibited in solo shows such as "Burn Burn Burn" at Pyo Gallery, Seoul; "Tranquil State" at LOFT 203, Seoul; and "Plot in Arnhem," Netherlands. His work has appeared in over forty-five group exhibitions, including "The Rabbit Stance" at Sejong Museum, Korea; "Art Now Korea" at INTERMEDIAE, Spain; and "Infinite Grace" at Waterfall Gallery, New York. He has also participated in residencies at Paju Book City Art Platform, Korea; Stichting Atelierbeheer Slak, Netherlands; and The National Art Studio, Korea.
Jang Woosuk, a Korea-based artist, explores post-history imagery through his innovative "stamp painting" technique. His work examines how contemporary images can integrate with traditional oil painting.
Jang mass-produces stereotypical images reflecting modern culture, such as puppies, handguns, octopuses symbolizing corporate conglomerates, and other capitalist icons. Unlike Renaissance, Baroque, Impressionist, or Pop Art styles, his compositions create a chaotic yet balanced "Chaosmos," blending disorder and structure.
To challenge West-oriented, male-dominated, and Eurocentric narratives, Jang merges Eastern stamp engraving with Western brush painting. His decentralized, pattern-free collages promote egalitarianism, dissolving cultural and national boundaries. His art embodies the coexistence of East and West, chaos and order—ideals he believes are essential to 21st-century humanity.
Jang has exhibited in solo shows such as "Burn Burn Burn" at Pyo Gallery, Seoul; "Tranquil State" at LOFT 203, Seoul; and "Plot in Arnhem," Netherlands. His work has appeared in over forty-five group exhibitions, including "The Rabbit Stance" at Sejong Museum, Korea; "Art Now Korea" at INTERMEDIAE, Spain; and "Infinite Grace" at Waterfall Gallery, New York. He has also participated in residencies at Paju Book City Art Platform, Korea; Stichting Atelierbeheer Slak, Netherlands; and The National Art Studio, Korea.
Jang mass-produces stereotypical images reflecting modern culture, such as puppies, handguns, octopuses symbolizing corporate conglomerates, and other capitalist icons. Unlike Renaissance, Baroque, Impressionist, or Pop Art styles, his compositions create a chaotic yet balanced "Chaosmos," blending disorder and structure.
To challenge West-oriented, male-dominated, and Eurocentric narratives, Jang merges Eastern stamp engraving with Western brush painting. His decentralized, pattern-free collages promote egalitarianism, dissolving cultural and national boundaries. His art embodies the coexistence of East and West, chaos and order—ideals he believes are essential to 21st-century humanity.
Jang has exhibited in solo shows such as "Burn Burn Burn" at Pyo Gallery, Seoul; "Tranquil State" at LOFT 203, Seoul; and "Plot in Arnhem," Netherlands. His work has appeared in over forty-five group exhibitions, including "The Rabbit Stance" at Sejong Museum, Korea; "Art Now Korea" at INTERMEDIAE, Spain; and "Infinite Grace" at Waterfall Gallery, New York. He has also participated in residencies at Paju Book City Art Platform, Korea; Stichting Atelierbeheer Slak, Netherlands; and The National Art Studio, Korea.
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