Space
Kim Sun Mi is a versatile artist whose work oscillates between painting, installations of threads stretched outside the frame, performance, and sculptural dimensions. Her training, notably at the École des Beaux-Arts and in visual arts programs in France, led her to develop a visual vocabulary in which connection, space, and the invisible play a central role. At the heart of Kim Sun Mi's approach is the subtle and metaphorical use of thread—often very fine threads, pronounced by their chromaticism or their tension in space. These threads, sometimes white, sometimes red or other contrasting colors, are incorporated into her painted works as "relational traits" that cross the surface, transcend the limits of the frame, and establish connections between the visible and the invisible. In some pieces, the thread is inserted beneath the surface or stretched with nails, generating discreet volumes and light projections that alter the perception of the canvas as an installation.
Spiritual
Kim Sun Mi's personal history deeply informs her art. A serious childhood accident—a near-death experience—shaped her relationship with life, light, inner space, and the vulnerability of the body. She often evokes areas of fragmented memory, inner refuges, or transitional spaces between the inside and the outside, the conscious and the unconscious. In her compositions, the dominant hue, delicate textures, and the discreet yet decisive presence of thread create an intense dialogue between silence and suggestion, restraint and radiance. Thread is a representation of fragility: that of the moment of emotion, the fragility of harmony, but also that of a personality observing the world through the eyes of childhood.
Color
Kim Sun Mi's work is at the crossroads of Korean tradition (particularly the Dansaekhwa movement for certain aspects of monochromaticity or materiality) and a contemporary sensibility open to abstraction, conceptualization, and minimalist gesture. Her works are not limited to the simple pictorial surface: they become spatial propositions, balances of matter and emptiness, invitations to perceive the invisible.
Magna Paris Gallery, led by Arnaud Pagnier, Emmanuel de Boisset, and Rodrigue Naucelles, has chosen to give Kim Sun Mi's work a permanent place in its catalog. This positioning reinforces the gallery's mission: to act as a lasting platform for artists whose voices are at once poetic, inventive, and singular.
Chae Sung Pil
Magna Gallery Paris, located at 25 rue de Beaune, 75007 Paris, has chosen to include Korean artist Chae Sung Pil in its permanent program. The singular work of this major contemporary artist unfolds through the use of earth as his primary material. By working with this original material, both humble and universal, he constructs a unique pictorial language referring to the force of natural phenomena. The power and elegance of waves, outcropping rocks, or geysers: his monochrome subjects, delicately composed using a technique of superimposed planes and drips, transcend cultural boundaries and offer a visual experience imbued with spirituality.
Born in South Korea, Chae Sung Pil developed an intimate relationship with nature from the very beginning. His artistic gesture consists not only of representing the landscape, but of capturing its very substance. To do this, he collects earths that he transforms into pigments and then mixes with water, in order to create pictorial surfaces of rare depth. These materials, patiently prepared, are applied in successive layers which, once dried, reveal reliefs, transparencies and textures of remarkable intensity.
evocation
This approach gives Chae Sung Pil's work a dimension that is both poetic and metaphysical. His paintings evoke distant horizons, suspended landscapes, where earthly matter becomes both memory and projection. The artist does not seek to capture an image, but to reveal the secret movement of nature, its permanent transformation. Each composition thus becomes a meditation on time, on the ephemeral, and on our deep connection with the elements.
emotion
Chae Sung Pil's presence at Galerie Magna Paris reflects the strong desire of its directors, Arnaud Pagnier, Emmanuel de Boisset, and Rodrigue Naucelles, to give a central place to artists whose approach combines fundamental research with the quest for a highly personal aesthetic. Their choices are based on intellectual rigor, but above all on technical mastery serving the personality of a universe. Galerie Magna affirms a particular sensitivity to the poetry of materials, in order to offer collectors and Asian art enthusiasts unique experiences capable of nourishing both reflection and pure emotion.
poetry
Through his works and a poetic transposition of reality, Chae Sung Pil invites us to revisit our relationship with the world. The earth, a founding element of his technique, becomes here a symbol of memory and identity, but also a metaphor for the fragility of our environment. By manipulating matter, he highlights its capacity to transform and reinvent itself, just as humanity is constantly called upon to redefine itself. His silent compositions, sometimes close to landscapes, sometimes to abstraction, open up an infinite field of interpretation where everyone can project their own questions. That being said, questioning is not seen as an end in itself; the beauty of the finished image, or more precisely "completed" and served by a perfectly mastered technique, remains the true purpose.
Recognized on the international scene, particularly in France, where he resides, Chae Sung Pil has presented his works in numerous institutions and museums, confirming the universal reach of his work. His permanent presence at Galerie Magna, at 25 rue de Beaune in Paris, as well as in the lobby of the Mandarin Oriental Paris, a partner of the gallery, constitutes a unique opportunity for the Parisian public to discover a profoundly Korean artistic approach.
Hoon Moreau
Magna Paris Gallery welcomes Franco-Korean artist Hoon Moreau to its permanent catalogue, a resolutely hybrid figure straddling design, sculpture, and material poetry. By including her work among its references, the gallery confirms its commitment to fostering dialogue between innovative creators, on the border between functional art and pure expression, and to providing lasting visibility to bold artistic approaches.
Materiality
Hoon Moreau has a unique background: for nearly twenty years, she worked as an interior design project manager for museums, palaces, prestigious hotels, and private residences, which allowed her to develop a detailed understanding of space, structure, and materiality. From this experience, she gradually shifted her practice toward artistic creation, combining sculpted furniture, art objects, and installations where form, material, and function intertwine.
Space
Hoon Moreau has a unique background: for nearly twenty years, she worked as an interior design project manager for museums, palaces, prestigious hotels, and private residences, which allowed her to develop a detailed understanding of space, structure, and materiality. From this experience, she gradually shifted her practice toward artistic creation, combining sculpted furniture, art objects, and installations where form, material, and function intertwine.
Strength
Hoon Moreau's universe is rooted in a quest for harmony between man, nature, and space. His works reflect a profound reflection on the relationship between structure and vitality, on the invisible forces that permeate the world—attraction, movement, time—as well as on our intrinsic connection to the environment. His exhibition "Attraction," organized in 2025 by Rodrigue Naucelles, Arnaud Pagnier, and Emmanuel de Boisset at Magna Galerie Paris, is an illustration of this: his creations fuse wood, metal, and Indian ink, creating suspended forms, dynamic lines, and subtle balances between strength and delicacy.
The matter
Hoon Moreau's approach goes beyond the purely visual dimension: it is sensual and sensory, inviting the viewer to feel the vibration of a worked material, to perceive the play of shadow and light, the echoes of polished or rough surfaces. Each piece dialogues with the space that hosts it, modulating the atmosphere and extending the reflection on the nature of the object in our daily lives.
The inclusion of Hoon Moreau in the permanent collection of Galerie Magna Paris is part of an editorial strategy aimed at offering enthusiasts and collectors lasting access to powerful artistic voices. Under the curation of Mignon Yu and the direction of Arnaud Pagnier, Emmanuel de Boisset, and Rodrigue Naucelles, the gallery affirms its role as a conduit and a revealer, capable of placing unique works in time and on the stage of a renewed cultural dialogue between Korea and France.
Aeri Lee
Aeri Lee
Since 2025, Galerie Magna Paris has showcased the work of Korean artist Aeri Lee at the heart of its permanent program as a contemporary and poetic voice of traditional Korean painting. By including her work in its catalog, Emmanuel de Boisset and his associates Rodrigue Naucelles and Arnaud Pagnier reaffirm their commitment to bringing together heritage and innovation in an East-West dialogue polarized by a long aesthetic quest. They also offer new visibility in France to artists already highly regarded in Asia.
Born in 1969 in Gyeonggi Province, South Korea, Aeri Lee pursued extensive studies in Korean painting at Sookmyung Women's University, where she earned a BFA, an MFA, and then a PhD in Visual Arts. She is also a visiting professor at Sookmyung.
Aeri Lee's practice is marked by the use of traditional Korean materials—including hanji paper (mulberry paper), ink, and gouache, which are central to her artistic approach. She is particularly recognized for her poetic representations of the physalis (or “Chinese lantern” / “ground cherry”), a plant rich in symbolism in Asian culture: happiness, fertility, success, and the relationship between life cycles and nature.
Aeri Lee's recognition is evidenced by her extensive exhibition history—both national and international—as well as her collaborations with cultural institutions and publications. Her awards—such as the Special Jury Prize from the Korean Art Critics Association (2013) and the Superior Artist Award from the Grand Fine Arts Competition of Korea (2012)—testify to the importance of her contribution to the contemporary Korean art scene.
In her painted compositions, as well as her volumes, Aeri Lee weaves a subtle link between the visible and the invisible: the physalis, often represented with fluid lines and bright colors such as greens and oranges, evoke the circulation of life and the natural cycle of the seasons. Served by a very beautiful technique, she plays with transparencies, superpositions and delicate gestures. The ink spreads on the sheet through several superimposed planes, creating visual harmonies and optical effects where the ornament becomes meditation.
The symbolism of the physalis occupies a central place: in Asian traditions, this fruit is laden with meanings—it symbolizes protection, abundance, and mystery alike. Aeri Lee draws on this metaphorical potential to unfold a visual universe where each ring, chalice, and seed can resonate with themes of memory, particularly that of childhood, the longevity of these memories, and the relationship between nature and humanity. Aeri Lee's work, through its finesse, symbolic depth, and poetic resonance, invites the viewer to slow down, to contemplate, and to reinvent their relationship with nature and time. The work of ink on the hanji, the silent presence of the physalis repeated in patterns, the rigor of the gesture, and the lightness of the nuances inscribe her visual language in a subtle meditation.
The space offered to Aeri Lee by Magna Gallery Paris plays a strategic role for enthusiasts, collectors, and those curious about an elegant and delicate Asian world. This lasting presence is part of the gallery's editorial and cultural policy, led by its directors Arnaud Pagnier, Emmanuel de Boisset, and Rodrigue Naucelles, who are keen to offer this thoroughly contemporary artist the exposure she deserves.
Galerie Magna Paris, through its commitment to the heart of the Carré Rive Gauche and its long-term ambition to promote quality contemporary art, aims to inscribe the art it offers within an aesthetic research framework. It aims to offer deeper perspectives, reveal enduring voices, and weave, through its works, a bridge between Asian and French cultures. With Aeri Lee, the gallery enriches its Korean artistic horizon and asserts an orientation in the truest sense of the term: resolutely open, sensitive, and demanding.
Galerie Magna Paris is pleased to highlight South Korean artist Kim Sun Mi, whose work combines conceptual finesse, formal rigor, and emotional impact. By choosing to represent Kim Sun Mi, the gallery reinforces its commitment to unveiling powerful Korean voices capable of engaging with time and space, and reaching a demanding and curious audience.
