10 Questions with Green (Yong Woon Park)
Green (Yong Woon Park) is a South Korean artist based in London. He studied Fine Art and Environmental Design in South Korea before working as an Environmental Designer at Chang-Jo Architects, where he also founded his own design company. Frustrated with corporate life and compelled to pursue a deeper creative calling, he moved to London to focus fully on painting. In 2022, he completed an MA in Fine Art: Painting at Camberwell College of Arts, University of the Arts London.
Green currently paints from his studio at the Bow Arts Lakeside Centre. His work explores emotional struggle, social tension and the psychological impact of modern life through explosive colour, raw textures and allegorical imagery. In 2023, he was selected by Chila K. Burman to exhibit in Bring Your Light at the Nunnery Gallery and participated in Surging Silence at Hypha Studios. In 2024, he exhibited in A Mighty Gust at Four Corners.
Deeply engaged in the politics of dystopian culture and its effects on the individual, Green’s practice transforms personal unrest into visual form. In recognition of his contribution to the UK cultural sector, he was awarded the Global Talent Visa by Arts Council England and the UK Government.
Green in his studio, London. Photography by Alberto Romano
ARTIST STATEMENT
Green's practice represents an act of rebellion, a raw, urgent, and unfiltered outpouring of emotion. His work conveys a bold narrative of resistance and introspection, defying the deeply entrenched societal norms that govern contemporary life. Evocative imagery, explosive colours, thick textures, and assertive gestures expose a profound critique of capitalism's alienating effects.
Drawing from personal struggles, Green blends allegorical figures with the untamed natural world, creating compositions that are both chaotic and deliberate. Large-scale canvases erupt with vibrant pigments, splattered in bold, confrontational forms. Green applies unmixed oils directly onto raw canvas, using forceful marks, palette knife incisions, and instinctive gestures. The relentless pursuit of success and competition fractures individuals, leaving them isolated and stripped of their essence. This emptiness is mirrored in the intensity of Green's movements, which create a sense of urgency and suggest an element of improvisation.
Green aims to provoke, disrupt, and challenge. The work invites viewers to confront the pressures that shape their own realities and to question the norms they have come to accept. It is not only an act of personal catharsis but also a call to rethink and redefine.
The Last Goodbye, 2024, oil on canvas, 91.5 x 122 cm © Green (Yong Woon Park)
INTERVIEW
Can you tell us about your journey from South Korea to London and how it shaped your identity as an artist?
My journey from South Korea to London has been deeply transformative, both personally and artistically. In South Korea, I was raised within a structured and hierarchical society where conformity was valued, and individuality was often discouraged. Although I initially pursued a career in environmental design, studying Fine Art and Environmental Design and working at Chang-Jo Architects, I found myself creatively and emotionally constrained. The weight of societal expectations created a growing conflict within me, and I came to realise that I could no longer ignore my need for honest self-expression through painting.
Moving to London offered the freedom I had been searching for. Unlike the more homogenous culture of South Korea, London introduced me to a diverse and open environment where I could explore my identity without fear or inhibition. The city became more than a place to live; it became a source of inspiration and personal liberation. Here, I encountered a range of experiences, voices and social issues that resonated with my own, yet had previously gone unspoken.
London allowed me to fully engage with themes such as inequality, alienation and peer pressure through my artistic practice. These ideas, shaped by both Korean and British society, found a natural outlet in the expressive, emotionally charged nature of my paintings. I use raw, instinctive gestures and vibrant colours, often leaving open areas of the canvas to encourage reflection and dialogue. My time in London has not only shaped my artistic voice but has given me the space to challenge, question and evolve as an individual.
That’s so Gross, 2025, oil on canvas, 91.5 x 91.5 cm © Green (Yong Woon Park)
What led you to leave your career in environmental design and fully commit to painting?
Leaving my career in environmental design was the result of a long internal struggle rather than a single moment of change. While I studied and worked in the field, and even ran my own design studio, I gradually became aware that something essential was missing. The work felt disconnected from the emotional and societal concerns that were becoming more central to my life. I was fulfilling expectations, but at the cost of my creative and personal well-being.
Over time, the tension between who I was and what I was doing became impossible to ignore. I began to realise that my true passion lay in painting, where I could explore complex emotions and offer critical perspectives on the world around me. Unlike design, painting allowed for a kind of freedom and urgency that resonated deeply with me. I could express anger, regret and resistance in a way that felt both honest and necessary.
This led me to move to London and pursue an MA in Fine Art: Painting at Camberwell College of Arts. The experience confirmed my commitment to becoming a full-time artist. It allowed me to grow technically and conceptually and todevelop a body of work that reflects both personal introspection and social critique. Choosing painting over design was not just a career shift; it was a return to myself.
How did your studies at Camberwell College of Arts influence your current practice?
Studying at Camberwell College of Arts was a pivotal moment in the development of my practice. It provided not only a structured environment to refine my technical skills, but also the critical space to question and challenge my ownassumptions as an artist. The course encouraged a rigorous examination of ideas, processes and intentions, which allowed me to deepen the conceptual framework behind my work.
What stood out most was the emphasis on experimentation and personal voice. I was encouraged to take risks, to push the limits of medium and method, and to explore the emotional and political depths of my subject matter. This freedom and support helped me to fully embrace the raw, physical, and expressive qualities of my painting. I began working on a larger scale, using unmixed oil directly on raw canvas, and allowing instinctive gesture to guide the composition.
The conversations with tutors and peers, many of whom came from diverse cultural and artistic backgrounds, also had a significant impact. These exchanges broadened my perspective and helped me situate my work within a wider social and global context. Camberwell gave me the tools and confidence to treat painting not just as a form of personal expression,but as a critical language through which I could engage with issues of inequality, identity and resistance.
Guess Who's Kissing, 2025, oil on canvas, 91.5 x 91.5 cm © Green (Yong Woon Park)
Eat or Being Eaten, 2024, oil on canvas, 91.5 x 91.5 cm © Green (Yong Woon Park)
Speaking of your work, what inspires your choice of themes like competitiveness, inequality, and peer pressure in your paintings?
The themes of competitiveness, inequality, and peer pressure are drawn directly from my lived experience and daily observations. These forces are deeply embedded in the structures of contemporary society, shaping how we behave, how we relate to one another, and ultimately, how we understand ourselves. I am particularly interested in how these pressures create a sense of alienation, pushing individuals to conform, compete, and suppress their true identities in order to survive or succeed within rigid and unforgiving systems. It often feels like a brutal food chain, where the vulnerable must either attempt to 'eat' or face being 'eaten'.
My paintings respond directly to this tension. I want viewers to confront the stark divide between the powerful and the powerless, and to reflect on the systemic nature of poverty and social exclusion. Inspired by the legacy of neo-expressionist artists who engaged with psychological and social themes, I use expressive forms, aggressive gestures, and satirical imagery to provoke emotional reactions and critical thought. The rawness of my technique, applying thick, unmixed oil directly onto raw canvas and intentionally leaving large empty areas, aims to challenge, disturb, and engage.
I believe art holds the power to disrupt complacency. Through my work, I hope to inspire audiences to question the structures that govern their lives and to recognise their potential for resistance. Racism, economic disparity, social stratification, and toxic competitiveness are not natural conditions. They are human-made systems that serve a select few while marginalising many. My paintings seek to amplify the voices of those pushed to the edges and to encourage each viewer to reflect on their own position within these structures, whether they accept, ignore, or challenge them.
How do Korean folklore and mythology influence the narratives in your work?
I occasionally draw on Korean folklore and mythology in my work, but they are not the main focus of my practice. When I include figures such as traditional gamyeon masks or Dokkaebi, it is to introduce symbolic meaning that supports a broader message. These elements help me reflect on power, conformity, and social pressure, but they appear only when they naturally connect with the emotional or political narrative of the piece.
My work is more directly influenced by nature and what I observe and experience in daily life. The natural world often appears in my paintings as a response to the emotional and social environments I inhabit. I find that landscapes, animals, and organic textures allow me to express feelings of chaos, resistance, or freedom more intuitively. These elements are closely tied to my emotional state and often become metaphors for human experience.
Rather than focusing on mythology, I am more concerned with how contemporary society affects individuals, especiallythrough competitiveness, inequality, and pressure to conform. Nature becomes a way for me to explore these issues while maintaining a sense of honesty and instinct. My goal is to create work that invites viewers to reflect on their own lives, their surroundings, and the systems that shape their values and identities.
Please Stop Chasing Me, 2023, oil on canvas, 116.8 x 152.4 cm © Green (Yong Woon Park)
Can you describe your creative process, from the initial idea to the final painting?
My process begins with a strong emotion or idea that I want to express. I often reflect on personal experiences or observations, shaping a message or metaphor that speaks to emotions like anxiety, anger, and hope. Sometimes I draw first, and other times I go straight to the canvas.
Once I start painting, instinct takes over. I work with my hands, brushes, knives, and sticks, layering colours and textures without following a strict plan. I might squeeze paint directly from the tube or build contrast between dense areas and raw canvas. These open spaces invite reflection and keep the energy of the work alive.
I never paint from life. I rely on memories and emotional responses, allowing the process to stay honest and unpredictable. What may look like rough or childish marks is intentional, capturing the vulnerability and complexity of what it means to be human.
You use vibrant colours and expressive brushwork. How do these techniques support the emotional tone of your work?
My use of colour and texture is a direct reflection of my emotional state and personality. The thick textures in my paintings express anxiety, agitation, and a sense of urgency. They are shaped by instinctive, physical brushwork that captures inner tension and pressure.
In contrast, vibrant colours represent a gentler part of me. I often plan colour compositions carefully, using bright tones to convey innocence, beauty, and hope. Sometimes I apply paint straight from the tube, especially when I feel the need to finish a work in one intense session.
This contrast between rough texture and luminous colour mirrors my own duality. I am sensitive and curious, but alsorestless and reactive to the world. My paintings hold both struggle and softness, revealing the emotional complexity that drives my practice.
Gangster Fond of Playing with Fire, 2024, oil on canvas, 122 x 122 cm © Green (Yong Woon Park)
I'm Don Quixote. Bring It on, 2024, oil on canvas, 122 x 122 cm © Green (Yong Woon Park)
What role does symbolism or allegory play in your art?
Symbolism and allegory are central to how I communicate emotion and critique in my work. Rather than telling a direct story, I use images as metaphors to express complex feelings such as guilt, anxiety, hope, or anger. These symbols are often drawn from the natural world. Animals, plants, and raw landscapes appear in my paintings as reflections of instinct, vulnerability, and resilience. Nature allows me to speak about human experience in a more open and intuitive way.
I also include figures and objects that carry personal or cultural significance, but I rarely assign them fixed meanings. I want viewers to bring their own interpretations. A single form might represent both fear and power, depending on its context. This openness is important to me. It keeps the work alive and allows it to remain emotionally honest.
Allegory, in my practice, helps connect the personal with the political. By blending natural elements with symbolic forms, I explore the tension between individual emotions and the broader structures that shape our lives.
How do you hope viewers respond to your work, especially when it tackles critical societal issues?
I hope my work encourages viewers to move beyond passive acceptance and begin questioning the world around them. In a society that often prioritises conformity over self-awareness, I aim to create space for personal reflection and emotional honesty. My paintings are not didactic; they offer intensity, ambiguity, and contradiction as a way to provoke thought.
I want people to ask themselves meaningful questions: What is my role in this system? Why do I compete? How can I live more consciously, and how can I contribute to change? Through my own process of artistic liberation, I found a way to express these tensions. My hope is that viewers, in turn, feel inspired to explore their own voices and recognise their power to resist, reflect, and transform.
Fall into Sweetness, 2023, oil, oil stick on canvas, 152.4 x 116.8 cm © Green (Yong Woon Park)
Lastly, are there any upcoming exhibitions or themes you're excited to explore in your future projects?
I am currently preparing for my upcoming solo exhibition titled 'Food Chain', which explores the harsh realities of competition in modern society. This theme reflects the survival-driven structures that shape our daily lives, where individuals are often forced to dominate or be dominated in order to succeed. Through this project, I aim to question the moral cost of such systems and how they affect our sense of identity, empathy, and purpose.
Alongside this, I am also focusing on promoting my work to a wider international audience. I am excited to build connections across borders and continue developing my practice in dialogue with diverse cultures and perspectives.
Artist’s Talk
Al-Tiba9 Interviews is a promotional platform for artists to articulate their vision and engage them with our diverse readership through a published art dialogue. The artists are interviewed by Mohamed Benhadj, the founder & curator of Al-Tiba9, to highlight their artistic careers and introduce them to the international contemporary art scene across our vast network of museums, galleries, art professionals, art dealers, collectors, and art lovers across the globe.
