Presented in conjunction with the KCC exhibition <Hanji and Minhwa: An Encounter> Join participating artists KIM Sun-hee, KIM Su-mi, YUN Su-kyoung, and IM Jin-sung for the minhwa workshop <Tracing the Origins of Derpy>. Inspired by the tiger character “Derpy” from the animated film <K-pop Demon Hunters>, this workshop explores traditional imagery found in hojakdo (tiger-and-magpie paintings), focusing on the symbolic meanings of tigers and magpies in Korean folk painting. Participants will learn about these traditional motifs and create their own hojakdo paintings through a hands-on experience. Event Details Date:  - Friday, June 26, 2026 | 6:00–8:00 PM (ET) (Korean / English) - Saturday, June 27, 2026 | 6:00–8:00 PM (ET) (Korean / English) Venue: Korean Cultural Centre Canada (150 Elgin Street, Unit 101, Ottawa, Ontario K2P 1L4)  Registration:  - Friday, June 26, 2026 | 6:00–8:00 PM (ET) (Korean / English): https://forms.gle/dRDSBzCvpK98Etn87 - Saturday, June 27, 2026 | 6:00–8:00 PM (ET) (Korean / English): https://forms.gle/w5zsmDJvnBEA3NVc8 Admission: Free KIM Sun-hee 김선희 KIM Sun-hee bridges the worlds of ceramic art and traditional minhwa painting. Viewing ceramics as "a quiet universe shaped through the language of earth and fire," she uses clay as a canvas, inscribing Korean folk flowers onto the surfaces to create a profound artistic dialogue across time and space.  KIM Su-mi 김수미 KIM Su-mi creates narrative and poetic imagery on dak (handmade mulberry paper) infused with natural dyeing techniques. Viewing human life as an extension of nature’s recurring cycles, she treats stains and diffusion as more than mere material effects; instead, they embody the profound structures of creation and dissolution, presence and absence. YUN Su-kyoung 윤수경 Grounded in the techniques and motifs of traditional Korean painting, YUN Su-kyoung’s work explores the concepts of rest and reflection in contemporary life. By incorporating tactile natural materials like clay, she reminds us that genuine rest is not a distant ideal, but something found within the spaces of everyday life. IM Jin-sung 임진성 Using hanji as a foundational medium, IM Jin-sung explores intersecting layers of materiality, time, and sensory experience. Moving beyond the traditional role of paper as a mere surface, he expands its physical and emotional qualities into a distinct contemporary visual language.

Presented in conjunction with the KCC exhibition <Hanji and Minhwa: An Encounter> Discover the art of making hanji (traditional Korean mulberry paper) in this special workshop at the Korean Cultural Centre Canada. Led by artist LEE Seung-chul, participants will learn traditional hanji-making techniques while experimenting with natural dyes derived from everyday materials. Through this hands-on experience, participants will explore the sustainability, unique material qualities, and contemporary possibilities of hanji. Event Details  Date: - Saturday, June 27, 2026 | 10:00–12:00 (ET) (Korean / English)  - Saturday, June 27, 2026 | 13:00–15:00 (ET) (Korean / English)  Venue: Korean Cultural Centre (150 Elgin Street, Unit 101, Ottawa, Ontario K2P 1L4)  Registration:  - Saturday, June 27, 2026 | 10:00–12:00 (ET) (Korean / English): https://forms.gle/82XLRc1cptmuXYpF8  - Saturday, June 27, 2026 | 13:00–15:00 (ET) (Korean / English): https://forms.gle/X75uKt6qwyijC1zX7  Free event  LEE Seung-chul 이승철  LEE Seung-chul is a Korean artist and professor whose practice centres on hanji (traditional Korean mulberry paper), natural pigments, and material-based installations. He is a Professor in the Department of Painting at Dongduk Women’s University in Seoul, and previously served as Director of the University Museum and Art Gallery.  LEE has also worked as an Executive Researcher for Materials of Korean Traditional Art at the Kansong Art Museum, and received his B.F.A. and M.F.A. in Oriental Painting from Seoul National University. His work has been exhibited internationally at major institutions, and he has published extensively on hanji, natural dyeing, and Korean material culture.

The Korean Cultural Centre Canada is pleased to present <Hanji and Minhwa: An Encounter>, on view from June 25 to August 12, 2026, featuring artists LEE Seung-chul, KIM Kang-mi, KIM Sun-hee, KIM Su-mi, NAM Jung-eun, YUN Su-kyoung, LEE Hee-jin, and IM Jin-sung.  This exhibition explores points of intersection between material and time, memory and perception, and tradition and the present through works that reinterpret hanji (traditional Korean paper) and minhwa (Korean folk painting) through a contemporary lens. The participating artists construct their own visual languages using diverse traditional materials and visual elements, including hanji, natural dyeing techniques, and munjado (letter paintings). Rather than simply reproducing historical forms, their works reconnect the temporal and sensory dimensions embedded within tradition with the language of the present. Exhibition Details - Exhibition: Hanji and Minhwa: An Encounter - Dates: June 25 – August 12, 2026 - Venue: Korean Cultural Centre Canada (150 Elgin St #101, Ottawa, ON K2P 1L4) - Featured Artists: LEE Seung-chul, KIM Kang-mi, KIM Sun-hee, KIM Su-mi, NAM Jung-eun, YUN Su-kyoung, LEE Hee-jin, IM Jin-sung - Exhibition Curator: LEE Seung-chul Featured Artists LEE Seung-chul 이승철 LEE Seung-chul has spent over three decades researching hanji and traditional natural dyeing techniques. His practice explores the relationships between preservation and disappearance, memory and continuity, anchoring these concepts in the materiality and temporality of nature. Drawing on extensive research in cultural heritage conservation, he continuously expands hanji beyond its traditional function, translating it into the language of contemporary aesthetics. KIM Kang-mi 김강미  <A Walk Through Time and Space (III)>, mixed media on jangi paper, 140 × 90 cm, 2025 KIM Kang-mi’s work reinterprets traditional chaekgeori (scholar’s bookshelf paintings) using authentic Eastern mediums and techniques, including hanji, persimmon dye, clay, and frottage. Her representative series, <A Walk Through Time and Space (시공산책 / 時空散策)>, explores the intersections between ideal and reality. By employing repeated structures and accumulated material traces, she visually manifests the dense layers of time. KIM Sun-hee 김선희  <Dream of Blue-and-White Porcelain>, white clay, colored engobe, cobalt pigment, matte transparent glaze, 2025 KIM Sun-hee bridges the worlds of ceramic art and traditional minhwa painting. Viewing ceramics as "a quiet universe shaped through the language of earth and fire," she uses clay as a canvas, inscribing Korean folk flowers onto the surfaces to create a profound artistic dialogue across time and space KIM Su-mi 김수미  <Forest of Momo>, pigment on hanji, indigo dye, 32 × 32 cm, 2026 KIM Su-mi creates narrative and poetic imagery on dak (handmade mulberry paper) infused with natural dyeing techniques. Viewing human life as an extension of nature’s recurring cycles, she treats stains and diffusion as more than mere material effects; instead, they embody the profound structures of creation and dissolution, presence and absence. NAM Jung-eun 남정은  <Fortune (福)>, mixed media on wood, 52.5 × 31 cm, 2026 NAM Jung-eun reinterprets traditional munjado (letter paintings), focusing particularly on the character bok (fortune) to explore the themes of relationship and happiness. By intertwining paint, thread, mother-of-pearl, and resin, she creates rich, layered expressions of emotion and time. YUN Su-kyoung 윤수경  <Wandering>, mixed media on hemp cloth, 64 × 134 cm, 2025 Grounded in the techniques and motifs of traditional Korean painting, YUN Su-kyoung’s work explores the concepts of rest and reflection in contemporary life. By incorporating tactile natural materials like clay, she reminds us that genuine rest is not a distant ideal, but something found within the spaces of everyday life. LEE Hee-jin 이희진  <Frosting – Everyday Confection>, mineral pigments on mulberry paper (sunjji), 110 × 45 cm × 5, 2026 Through contemporary reinterpretations of traditional minhwa, LEE Hee-jin merges classical iconography with modern motifs to explore the narratives of everyday life. Her works playfully bridge the past and present, offering vibrant, fresh perspectives on familiar experiences. IM Jin-sung 임진성  <Waterfall>, handmade hanji, 162.2 × 130.3 cm, 2025 Using hanji as a foundational medium, IM Jin-sung explores intersecting layers of materiality, time, and sensory experience. Moving beyond the traditional role of paper as a mere surface, he expands its physical and emotional qualities into a distinct contemporary visual language. Artist Statement / LEE Seung-chul  Rather than standing upon what has already been made, I wish to remain beside the moment of becoming. Uniformly cut paper, precisely measured colors, and flawlessly reproduced surfaces are convenient, yet they often feel too rigid to contain the trace of my own breath. So I make the paper again. I loosen the fibers, soak them in water, and wait through the passing time of flowing and drying until a surface is finally born. Within that surface remain delicate textures, the pressure of the hand, and the traces left by water. I do not simply place images upon it; I breathe together with the material itself. I believe color is not something merely given, but something drawn up from within. Pigments gathered from nature contain the time of light, air, and seasons. Even when made through the same process, they reveal different depths each time. I do not erase those differences. Rather, within such irregularities, I discover the place where images emerge. To create materials is to touch time before form. It is to place myself within the process that precedes completion. I do not seek to reproduce tradition. Instead, I hope to pass through myself the slow sensibility and the attitude toward material embedded within older ways of making. In doing so, I hope that a breath carried across time may continue once again here, in the present moment. My work is less about creating images than about questioning the ground beneath them. Upon what kind of paper do we stand. Through what colors do we breathe. Through what layers of time do we pass. Today again, I return to the place before expression begins. And there, slowly, I continue to shape my own language.

Presented in conjunction with the KCC exhibition <Hanji and Minhwa: An Encounter> Discover the art of making hanji (traditional Korean mulberry paper) in this special workshop at the National Gallery of Canada. Led by artist LEE Seung-chul, participants will learn about traditional hanji-making techniques while experimenting with natural dyes derived from everyday materials. This hands-on experience highlights the sustainability, material qualities, and adaptability of hanji across both historical and contemporary contexts.  Event Details  Date: - Friday, June 26, 2026 | 10:00 – 12:00 (ET) (Korean / English)  - Friday, June 26, 2026 | 13:00 – 15:00 (ET) (Korean / French)  Venue: National Gallery of Canada, Studio (380 Sussex Drive, Ottawa, ON K1N 9N4)  Registration:  - Friday, June 26, 2026 | 10:00 – 12:00 (ET) (Korean / English): https://www.gallery.ca/whats-on/calendar/workshop-hanji-past-and-present  - Friday, June 26, 2026 | 13:00 – 15:00 PM (ET) (Korean / French): https://www.beaux-arts.ca/a-laffiche/calendrier/atelier-le-hanji-dhier-et-daujourdhui  Free event  LEE Seung-Chul 이승철  LEE Seung-Chul is a Korean artist and professor whose practice centres on hanji (traditional Korean mulberry paper), natural pigments, and material-based installations. He is a Professor in the Department of Painting at Dongduk Women’s University in Seoul, and previously served as Director of the University Museum and Art Gallery.  Lee has also worked as an Executive Researcher for Materials of Korean Traditional Art at the Kansong Art Museum, and received his B.F.A. and M.F.A. in Oriental Painting from Seoul National University. His work has been exhibited internationally at major institutions, and he has published extensively on hanji, natural dyeing, and Korean material culture.

The Korean Cultural Centre Canada presents <The Self Within Collective>, an exhibition featuring works by CHOI, Sejin and YOON, Sangyoon. Through painting, the exhibition explores how an individual is continuously shaped within collective structures, revealing the complex relationship between personal consciousness and social influence. Exhibition Details - Dates: March 12 – June 12, 2026 -  Venue: Korean Cultural Centre Canada (150 Elgin Street, Ottawa, ON) -  Artists’ Talk: March 12, 2026, 5 PM (ET) - Opening Reception: March 12, 2026, 6 PM (ET) <The Self Within Collective> explores how an individual is shaped within a collective through the works of CHOI, Sejin and YOON, Sangyoon. Both artists depict how personal consciousness is deeply intertwined with social influence, though each approaches this theme from a different perspective. CHOI examines how social conditioning and shared rituals leave traces on the body. In her familiar scenes of a school activity day, anonymous children participate in group activities. While the actions appear playful, they carry subtle traces of discipline, competition, and the pressure to conform. CHOI’s work highlights how repeated gestures and coordinated movements within a collective setting shape individual behaviour and memory, showing that the social body cannot be separated from personal experience. YOON turns inward to explore the interaction between the psyche and the social world. He utilizes a tripartite vertical composition: the submerged unconscious id, the figures at the surface representing the ego, and the figure above embodying the superego, internalized social norms and expectations. He portrays the constant negotiation between inner desire and external control, showing how the self forms at the intersection of personal impulses and collective pressures. Both artists navigate the tension between the individual and the collective through different approaches. One traces the social influence imprinted on the body, while the other maps the psychological structures shaped by it. Together, their works show that individual nature is never fixed but continuously formed and reformed at the intersection of memory, emotion, and social influence. <The Self Within Collective> invites viewers to reflect on how the groups and structures we inhabit shape our actions, memories, and identities, and to consider the interplay between personal consciousness and collective experience. CHOI, Sejin 최세진 CHOI, Sejin graduated from the Department of Painting at Ewha Womans University in Korea. Her practice centers on painting and drawing. Using children’s perspectives and play, she metaphorically explores patterns that emerge from society’s collective inertia and relational structures imprinted on individuals. She focuses on how norms, gazes, and roles operate within collective cultures, investigating narratives that arise from an individual’s existence, relationships, and roles within each group. CHOI, Sejin, Unfolding the Parachute, 194x130cm, oil on canvas, 2018 YOON, Sangyoon 윤상윤 YOON, Sangyoon graduated from the Department of Painting at Chugye University for the Arts and completed an MA in Fine Art at Chelsea College of Art and Design in the UK. His painting practice observes the sensations of “territory” and “gaps,” and the tensions between the individual and the collective. He has held solo exhibitions in New York and Shanghai, and participated in numerous exhibitions in Korea as well as international projects, including Art Central Hong Kong and exhibitions in Beijing and Suzhou, China. YOON, Sangyoon, Tea for Two, 162x130cm, oil on canvas, 2023