Korean artist Chun Kwang Young incorporates elements of both painting and sculpture in his practice. He is best known for his acclaimed Aggregation series: freestanding and wall-hung amalgamations of small, triangular forms wrapped in antique mulberry paper, often tinted with teas or pigment.

Born in Hongchun, South Korea, in 1944, Chun grew up during the end of Japanese colonization and the brutality of the Korean War. In the early 1970s, he moved to the United States to pursue a Master’s Degree at Philadelphia College of Art, where he was deeply drawn to Abstract Expressionism. “It seemed to be the best way to freely express my surprise and sadness at witnessing the huge gap between idea and reality,” he says.
 
Over time, Chun became disillusioned with the materialistic drive that seemed to fuel the American dream and feelings of loneliness intensified his longing for home. During this period, Chun’s paintings, which explored the effects of light and color, reflected his interest in Abstract Expressionism, however, he ultimately found the expression inauthentic. Chun decided to return to Korea and focus on developing his own methodology, one that was wholly unique and reflective of his history and cultural identity.
 
The development of Chun’s signature technique was sparked by childhood memories of seeing medicinal herbs wrapped in mulberry paper, tied into small packages and hung from the ceiling of the local doctor’s office. He became intrigued with the idea of merging the techniques, materials and sentiment of his Korean heritage with the conceptual freedom he experienced during his Western education. 

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