Oh Hyuk-jin, Flowered Glow, 2025
Mixed media on canvas, 90.9 x 72.7 cm
VIDI Gallery is pleased to present Re-blooming Us, a compelling four-artist exhibition featuring the works of Kim Sung-yoon, Seo Ho-sung, Oh Hyuk-jin, and Choi Woo, running from May 21 to June 20, 2026.
This exhibition serves as a contemplative space where disparate timelines and emotional trajectories intersect, narrating stories of wounding, recovery, and the eventual rebirth of life's fleeting moments.
The inherent imperfections of relationships and internal turbulences are channeled through the tactile sensation of materials that scatter and gather, creating a loose, evocative bridge between the past and the present.
Each artist constructs a distinct worldview to explore the potential for human continuity amidst instability, revealing sensory forms where quiet comfort and sustainable hope can coexist.
For Kim Sung-yoon, the moon serves as a core motif symbolizing prosperity and good fortune.
Its gentle illumination warms the forest of contemplation and the home of rest, while cascading golden dust gives physical form to the concept of hope.
Kim meticulously observes and monotypes the diverse shapes and textures of leaves to build his layered forest environments, establishing a sanctuary for internal reflection.
By infusing his canvases with sincere wishes for familial well-being and collective peace—much like New Year's prayers or quiet everyday hopes—the artist transmits a profound sense of warmth and positive energy to the observer.
Seo Ho-sung investigates the latent, multifaceted nature of love, calmly unpacking the awkward and incomplete emotions encountered during personal growth.
Though the journey from childhood to adulthood remains fundamentally unfamiliar, Seo offers a reassuring reminder that one does not need to conform to society’s demands for perfection. He captures the conflicts, harmonies, and subsequent moments of healing that occur within the tangled web of human relationships, translating the bittersweet friction of everyday intimacy with both wit and depth. His practice ultimately celebrates the value of love within the process of self-discovery rather than focusing purely on the final destination.
Oh Hyuk-jin focuses on the inner child residing within individuals, giving visual representation to the internal deficits and scars carried through daily life.
Existing in states of unprovoked sorrow and emptiness, these inner figures find solace and leave subtle traces within the protective sanctuary of a dreamlike natural world.
Oh utilizes sand as a primary medium, employing its scattering and accumulating properties to mirror the cyclical structures of existence, reminding viewers that emotional wounds do not signify absolute destruction but are instead integrated into new configurations.
Choi Woo, In Dreams 3 (또는 꿈에 3), 2026
Mixed media on wood panel, 60.6 x 50 cm
Through this repetitive cycle of breaking down and building up, he suggests that human beings can find resilience in hardship, delivering a quiet consolation as these internal personas patiently construct their own worlds.
Choi Woo explores the profound arc of human existence, spanning from genesis to cessation and navigating the complex emotions that lie between.
Drawing inspiration from the primitive sensibilities of ancient murals, Choi’s work untangles life, prayers, creation, decay, and the full spectrum of human joy and sorrow through an unrestricted formal approach.
He manipulates a diverse array of materials—including graphite, crayon, oil, acrylic, gouache, and metallic corrosion—utilizing the rusted surfaces of metal as an architectural skin that condenses time, memory, and emotion.
Through repetitive physical acts of scratching, drawing, and layering by hand, the artist articulates a sublime narrative of human existence that effortlessly traverses the boundaries between the ancient and the contemporary.
Kim Sung-yoon, Moonrain (2605), 2026
Acrylic on canvas, 45.5 x 33.4 cm
