Chongqing - On July 31, the Wang Qi Art Museum in downtown Chongqing opened its doors to a sweeping survey of contemporary Korean art that bridges centuries of East Asian aesthetic tradition with bold, material-driven experimentation. Titled "China-Korea · Yi Jing — Kim Jeong-sook Contemporary Art Exhibition," the show presents more than ninety works spanning over three decades of the artist's teaching and practice, offering visitors a rare glimpse into how one of South Korea's most respected color-painting masters translates the natural world into layered, tactile abstraction.

Kim Jeong-Sook is introducing her works to Chongqing visitors (Photo: the Event Organizer)

The Chongqing stop is the latest leg of a touring exhibition that debuted in March at Beijing's Shu Yong Art Museum, where curators framed Kim's practice as a form of "rooted contemporaneity" — deeply anchored in Korean material culture yet fluent in the global language of abstraction.

The Wang Qi Museum presentation is organized around two thematic cores: "Nature · Contemplation" and "Nature · Implication," guiding viewers through monumental canvases where deep indigo crashes against burning vermilion, and monochrome fields of interlaced fiber evoke tidal rhythms and geological time.

Director of the Wang Qi Art Museum grants collection certificate to Kim Jeong-Sook (Photo: the Event Organizer)

The opening day concluded with a salon where scholars and artists from both nations debated the contemporary relevance of Eastern aesthetics — a conversation that felt especially timely given the broader push for cultural exchange between China and South Korea this year. For Kim, who has mentored more than fifty Chinese graduate students during her tenure, the Chongqing audience represents something personal as much as professional. 

"Art knows no borders," curator Ruan Bin remarked. "What you feel standing before these canvases is a quiet, warming power that belongs to everyone."