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The Drawing Room은 예술을 통해 재미를 추구하는, 뉴욕과 뉴저지를 기반으로 활동하는 예술가들의 모임입니다. "Positive change is built on common dreams, common concerns, common aspiration, common trust and common sense. " 를 모토로 활발한 창작활동을 하고있습니다.

창의적인 활동에는 굉장한 양의 긍정적에너지가 필요합니다. The Drawing Room의 멤버들은 각기 다른 분야에 있지만 모두 창작에 대한 열정과 건강한 마음, 긍정적인 에너지를 갖고 있습니다.

우리들의 재밌는 수다는 서로의 창의력을 자극시킵니다. 멤버들은 신뢰를 바탕으로한 솔직하고 진심어린 비평과 긍정적인 피드백을 나누며 서로에게 영향을 주고 발전해나갑니다. 또한, 예술과 문화의 가치와 더불어 생활안에서 삶의 균형과 방향성을 찾아나가는 과정 또한 모임안에서 모색됩니다. The Drawing Room의 전시와 작품을 통해 재해석된 이러한 좋은기운들이 관객들에게도 전해질 수 있기를 바랍니다.

The Drawing Room is a group of artists based in the New York, tri-state area. We are pursuing joy through forms of contemporary art.

Our collective motto is, ‘Positive change is built on common dreams, common concerns, common aspirations, common trust and common sense.’ We are dedicated to manifesting creative energy through art forms.

Creation requires great amounts of positive energy. Each member of the Drawing Room is in a different field, but we all enthusiastically pursue creativity, healthy states of mind, and positive energy.

Our open-minded conversations stimulate creation. The Drawing Room members share honest critique and positive feedback based on trust, and we move forward while affecting and inspiring each other.

In addition to seeking value in culture and art, we also discuss the quest for balance and direction in life.

We hope audiences, through empathy, experience positive energy, and feel regenerated through the forms of art displayed in our exhibition.


We are welcoming new members. Please feel free to email us your portfolio and CV.


Positive change is built on common dreams, common concerns, common aspiration, common trust and common sense.

Sueim Koo
Stephanie S. Lee
Jin Cho
Dong Kyu Kim

Sung Shin Woman’s University
MFA in Fine Art 2006

Sung Shin Woman’s University
BFA in Fine Art 2004


Mankind, Matter and Mark, Studio Berry Gallery | Fort Lee, NJ, 2015

The Road: infinite, Palisades Park Public Library Gallery | Palisades Park, NJ, 2015

Come Full Circle, Oms Gallery | Teaneck, NJ, 2014


The Artist | SIA NY Gallery | New York, NY 2015

8th Invitational Group Exhibition | Jersey City Hall | Jersey City, NJ 2015

NAKS Gala Show | World of Wings, NJ, 2015

Affordable Art Fair | Chelsea, NY, 2014

Community Art Project | Flushing Town Hall, Flushing, NY 2014

Asian Contemporary Art Show | Conrad Hong King, Queensway, Hong Kong, 2014

Passion 15 | Riverside Gallery, Hackensack, NJ, 2014


Sung Shin Sculpture Association

Corporation National Sculpture Association in Korea

Korean American Contemporary Arts, Ltd.

Group Motto


Jin Cho have studied at Sung Shin Woman’s university in Korea and worked as an assistant curator at Yegam Art space gallery in New York. She has had 3 solo and over 30 group exhibitions. Her artwork was revealed the art of sculpture and painting which is a combination of a unique genre today.


The work consist of circles and lines. The image in my work symbolizes the paths that many people take in life. Each circle represent an individual's life, however, the circles don't intersect. They live in solitude, isolated from the others. Each circle was carefully formed by carving either sculptural objects or patterns on canvas.

Let’s imagine that a gigantic stone sitting right in front of you and it’s blocking your way - What would you do? Run away? Avoid? Nothing? My choice is finding my own way to reach the end of the path. In life, we are prone to experience many ups and downs, though we must overcome and adapt. We all develop our own ways to improvise the situation whether it is through an opportunity or circumstance. After being independent, I was incapable of doing anything at the moment, even worse I felt helpless. The only thing that I was able to do was let my mind run free on a blank canvas which leads me to create this work of art through the inspiration from a stone.

This work consists of circles and line that are infinite. There are no intersections which symbolize how each individual leads their own life but are connected to each other through struggles. Whether it may appear to be parallel to others the circles and lines stay isolated yet solitude. The circular patterns are derived from the annual rings from the trees which stimulated the idea of an individual’s life.

One of the most remarkable prehistoric human achievements was our ability to work with stone on a seemingly gigantic and effortless scale. This has encourage me translate my vision into a stone. I wanted to bring this stone to life in representation of one’s lethargic life. As written by Shakespeare “Breathe life into stone”, stone is a natural object that is a part of nature in which through time it consistently changes but by breathing life into it, it gives motivation and enthusiasm to live life differently.


Kookmin University, Seoul, South Korea
BFA in Fashion Design, 2001


LG Chemical Commercial Film Stage Costume Design, 2000

Miss Hong’s Laughing Stone company Stage Costume Design, 2000

A Midsummer Night’s Dream by Yohangza Theatre Company Stage Costume Design, 2000

Finalist, Seoul Venture Design Contest, 2002


Korean American Contemporary Arts, Ltd.

The Drawing Room


Living and working globally in Asia and South America as an active fashion graphic and style designer for the last two decades, Dong Kyu Kim has been immensely intrigued by the various forms of art and continuously worked on collaborating art with fashion.

As he had moved to United States and joined The Drawing Room in 2009, he has found himself utterly fascinated and inspired by unique and diverse ideas and imagination from other club members with different artistic backgrounds such as music, architecture, photography, graphic design, and interactive design. Over the weekly The Drawing Room meetings with subjective topics, sharing each other’s ideas and concepts has broadened Kim’s artistic perspectives and consistently furnished him with enthusiastic motivation.

The selected works, Kim is presenting for this exhibition, are from his collection of those weekly meetings which were influenced from discussion and brainstorming with other Drawing Room members and through his fashion profession background. The concepts and motifs are based on his view through his ‘eyeglass’ and expression of his perception toward the surroundings and the subjects such as self portrait, mass transportation, city life, death, wave and flower.

As this exhibition is Kim’s first participating art event, he would like to acknowledge and thank with his great honor for the special invitation to all The Drawing Room members and colleagues.


Purchase College SUNY The Art Students League of New York
BFA in Fine Arts, 2010 2012-current


The 2nd Annual Homeless Benefit Event | New York, NY, Apr. 2013

KwangHwaMoon Intnationl Art Fair | Seoul, S. Korea, Apr. 2013

PAC Group Exhibition | KCC Bennett Gallery, NJ, Apr. 2013

Trio Exhibition | Highwire Gallery, PA, Mar. 2013

Artist of the Month Show | Edward Hopper House, NY, Feb. 2013

Honor Reward Group Exhibition | Phyllis Harriman Mason Gallery, NY, Feb. 2013

Member Exhibition | Edward Hopper House, NY, Jan. 2013

Solo Exhibition | Riverside Gallery, NJ, Dec. 2012

Selected Work Exhibition | Manhattan Borough President’s Office, NY, Dec. 2012

Group exhibition | Philip Jaisohn Gallery, PA, Dec. 2012

Journey III | St. Asaph Gallery, PA, Nov. 2012


Journey II | Da Vinci Art Alliance, PA, May. 2012

Bolt Art Fair | Tenri Cultural Institute, NY, Feb. 2012

Bolt Art Fair | Fullerton, CA, Jan. 2012

Annual Member Exhibition | Edward Hopper House Art Center, NY, Jan. 2012

Small But Significant | Philip Jaisohn Gallery, PA, Dec. 2011

Asian:American–Homogenous | The Asian Art Initiative, PA, Aug. 2011

Grand Opening Exhibition | Art & Light Gallery, CA, Jul. 2011

Side by Side Exhibition | Highwire Gallery, PA, Jun. 2011

GwangHwaMoon International Art Fair | Seoul, S. Korea, May. 2011

Dialog Without Walls | Philip Jaisohn Gallery, PA, Dec. 2010


New York Society of Women Artists

Piermont Flywheel Gallery


Having earned her Bachelor of Fine Arts degree from State University of New York, Purchase, the same year she turned fifty, Sueim Koo’s foray into the world of professionals kicked off late in life. She has nevertheless been prolific in creating and sharing her artwork. This exhibition will be another one of her emotional expression of her own world.

Koo embarked on a journey to recreate landscapes using the emotions she had felt as a teenage girl. These emotions came from her old diary she wrote as a seventeen year-old girl. Though Koo’s work depicts landscapes, these landscapes lie beyond the geographic imagery itself. Instead, each canvas holds in it a story, fraught with the emotional depths of a teenager watching her hometown, Jong-Ro in Seoul, South Korea, being torn down, and with it the importance of her youth.

Through a state-of-mind between that which is half remembered and half imagined, Koo creates vivid landscapes, which capture the form of places she left behind, and colored with the emotions she once felt. The process of choosing colors and defining the shapes and patterns of rice papers is not about creating something aesthetically pleasing. Rather, these are the means by which Koo reconstructs broken memories and seeks to rediscover her feelings. Furthermore, Koo orchestrate the colors and forms as soft and romantic musical pitches so that her diary landscapes become an elegiac portrayal of her state of mind.

For each work, Koo is willing to transfer a sentence from diary to the title. The title of the work full of purple of rice paper with some touch of pink paper is “The beginning of the fall of 1993 was a pinkish, heartbroken time. And it turned ashen at the end. Was it one-sided love?” And “The cyan-green longing spread out to that summer.” is the title of the work with dark green with spreading of variety color papers.

From hope, to despair, to excitement, to longing, the body of work is filled with a sense of inspiration and rediscovery of past, present, and future. And Koo’s diary is still being continued...


Pratt Institute, Brooklyn, NY
BFA in Communications Design, 2001

Pusan National University, Pusan, South Korea
Korean Traditional Folk Art Painting, 2011

Pratt Institute, Manhattan, NY
MS in Museums and Digital Culture


Our Happy Minhwa, Korean Folk Art Association Group Exhibition | Pusan Citizen Hall, South Korea Mar. 2013

Arirang, Korean American Contemporary Association Group Exhibition | Riverside Gallery, NJ Mar. 2013


Special Prize, Contemporary Women Fine Art Association, South Korea, 2012

Prize of Selection, The Traditional Culture Arts Promotion Association, South Korea, 2012

Excellence Award for Outstanding Merit in Graphic Design, Pratt Institute, 2001

Circle Award for Academic Achievement, Pratt Institute, 2001


Korean American Contemporary Arts, Ltd.

Piermont Flywheel Gallery

한국 심미회 (H.M.A)

New York Society of Women Artists


Lee studied in Busan art high school in South Korea and earned BFA at Pratt Institute. She has been selected as a participating artist in many art fairs including Spectrum Miami Art Show, Fountain Art Fair and Affordable Art Fair. As an artist & a curator, she held many exhibitions in the U.S and in overseas, and has been awarded numerous occasions for her exceptional art work.

She is also teaching Korean Folk Art in New York Queens area.


Minhwa is a decorative everyday art containing love, dream, belief in fortune, wish for longevity and happiness that transcends all religious beliefs. Its informality and symbolic expressions convey various feelings of happiness, love and delight in everyday life. Bright colors are used to reflect purity, and to ward off evil while symmetrical composition shows harmony that enrich people’s lives.

Because of many common elements between Lee’s own design backgrounds and her view of the world, Lee is enchanted and inspired by Minhwa and continues to do experimental work in various perspectives.


Dejected to see the Korean traditional folk art (Minhwa) becoming disconnected and distant from the modern day society, I had a discerning desire to preserve it by reenacting it.  Employing the unique symbolic, decorative, and symmetrical attributes of the Minhwa while applying the traditional methods, I have attempted to show the contrast of “the old” and “the new” by juxtaposing them.  While the objects of desire may have metamorphosed with passage of time, the undying desires of human beings - wealth, health, beauty, knowledge, and accumulation of fame- never withered, and are everlasting.  

My ancestors’ artworks reveal a longing for a beautiful and ideal world.  Yet, so called ‘perfect lives’ are too distant from the reality hence becomes the object of our desire.  Using similar outlay and composition of the traditional folk art of the past times, I suggested that the ideal life that we all yearn for is not unattainable and can easily be found in one’s own mundane daily life.  Once we, the people of the modern society, start to discover and attain our wishes in small things within our surroundings, perhaps we may be less occupied and more contended and appreciative of our current state.

I juxtaposed the materialistic wealth that modern day people yearn for alongside the aspirations of ancient Korean ancestors for wealth and prestigious status in society.  The façade of modern day people’s longings and desires may differ from those of the ancient Korean ancestors, yet the longing for wealth and attainment for prestigious positions in society seems to remain the same. 

However, extravagant objects in my paintings are not employed to reveal the negative aspects of materialism.  Rather, it is an interpretation of how these materialistic yearning of human kind can be a positive element in modern society if they are employed to urge people to do their earnest best to obtain the “it.”

Just as the people of the olden days wished well for others while exchanging these paintings, I wish the public wealth, and success through my artwork.


Cranbrook Academy of Art, Bloomfield Hills, MI
MFA in Fiber Art, 2009

Maryland Institute College of Art, Baltimore, MD, Post-baccalaureate
Fine Art, 2007

Hongik University, Seoul, Korea, MFA
Painting, 2006

Hongik University, Seoul, Korea, BFA
Painting & 2D Design, 2004


Vermont Studio Center, Johnson, Vermont, 2016

I-Park Foundation Artist-in-Residence, East Haddam, Connecticut, 2014

NES Artist Residency, Skagaströnd, Iceland, 2012

Lower Manhattan Cultural Council’s Swing Space, Governors Island, New York, 2011

Sculpture Space, Utica, New York, 2011

Skowhegan School of Painting and Sculpture, Skowhegan, Manie, 2009

Anderson Ranch Arts Center, Snowmass Village, Colorado, 2009


Ephemerality, Theo Ganz Studio, Beacon, New York, 2016

Mind out of Time, Here Arts Center, New York, New York, 2013

Sensory Thought, Delaware Center for the Contemporary Art, Wilmington, Delaware, 2011

Cleansing the Memories, KEPCO Plaza gallery, Seoul, Korea, 2011 Watching the Mind, 4Art gallery, Kyunggi-do, Korea, 2009

Watching the Mind, Museum of New Art, Pontiac, MI, 2009

Ephemeral, ABBA Fine Art, Miami, FL, 2009

Line of Thought, School 33 Art Center, Baltimore, MD, 2008


Jayoung Yoon is an artist based in Beacon, New York. She earned her BFA from Hongik University in South Korea, and her MFA from Cranbrook Academy of Art. She has exhibited in solo and group shows throughout the United States and Korea including at Here Art Center, Museum of New Art, Jersey City Museum, Ohio Craft Museum, and Seoul Olympic Museum of Art, Korea.

She has attended residencies at Skowhegan School of painting and Sculpture, Lower Manhattan cultural council’s Swing space, Anderson ranch Arts center, and Sculpture Space among others. Most recently, she was awarded the Vermont Studio center Fellowship, and The Artist in the Marketplace program at Bronx Museum.


My work draws upon the mind-matter phenomenon, exploring our thought systems, perception and body sensations. Human hair is intimately corporeal, tactile and focuses the viewer’s attention on the body. Also, since hair doesn’t decay long after death, it is an especially appropriate symbol of remembrance. Each strand of hair is hand knotted or woven into forms, which become transparent like invisible thoughts, and memories. The sculptures are often used in my video and performance works.

I use the hair sheared from my head, then transform the hair into wearable sculptures. It comes back to my body with new symbolism, which represents invisible thoughts. In the videos, I connect the ‘invisible thoughts’ to my head, often lifting slowly into the air and disappearing, as a cleansing gesture. The videos become ritualistic meditation ceremonies. My head is shaved, as monks do, representing a detachment from materialist identity. I meditate with my back to the camera, embodying a detachment from gender, culture, and thought. The immersive quality of videos in conjunction with my androgynous appearance invites viewers to inhabit my body, and experience the process of clearing the mind.

Also I make stand-alone non-wearable sculptures, which I sometimes use in video and performance, or collectively they become an immersive installation. Weaving and knotting the hair by hand instead of using machinery creates unique, organic shapes both in the details and in the larger form. The weightless hair sculptures move from the airflow created by a viewer’s movements and from the environment. Those small movements in space, on an intricate scale, shift the viewer’s awareness toward subtle perceptions that are often taken for granted.

In my 2d work, I also use each strand of hair to create compositions of grids, and geometric shapes with repeated hair-lines. The diffused hair strands within layers of acrylic medium and beeswax, represent thoughts dissolving, or surfacing between states of the conscious and unconscious mind.

Curating & Graphic Design by Stephanie S. Lee | ©2013 The Drawing Room. All rights reserved.