By Diplomacy Journal Kayla Lee 

We interviewed Lee Mi-hyung, director of the K Folk Painting Research Center, to learn more about the value of K Folk Painting and its future prospects. We talked about how K-Folk Painting, which bridges tradition and modernity, is developing and its potential to spread globally. --Ed.

Question: How is K-Folk Painting different from traditional folk painting?

Answer: K-folk painting is a modernized version of traditional Korean folk painting. While traditional folk paintings are paintings that were naturally formed in the lives of common people during the Joseon Dynasty, K-folk paintings are modernized and developed to resonate with the global market. It is characterized by maintaining traditional techniques while adding modern elements in color, material, and expression.

Q: What value do you think K-Folk Painting has in the modern world?

A: K-folk paintings are more than just art, they are an important medium for our cultural identity. Whereas folk paintings in the past were paintings of auspiciousness and hope, modern K-folk paintings also serve to inject positive energy into our lives. They also harmonize with modern spaces and can be utilized in various fields such as the interior, fashion, and design industries.

Q: What are your strategies for globalizing K-folk paintings?

A: We are pursuing several strategies to globalize K-folk paiintings.
First, we are promoting the artistry and stories of K-folk paintings through overseas exhibitions and exchanges.

Second, we are also considering expanding into NFT, metaverse, and AR/VR exhibitions by incorporating digital technology.

Third, we are collaborating with global brands to utilize K-folk paintings in various fields, such as fashion, household items, and games. In this way, it is important to reinterpret tradition in a modern way while making it familiar to people around the world.

Q: Overseas, Korean folk paintings are often referred to as Folk Painting, why is it important to use the term K-Folk Painting?

A: Folk Painting is a universal term that simply means 'folk painting'. However, K-folk paintings are not just folk paintings, but a cultural heritage with a unique style and philosophy. Using the term 'K-Folk Painting' differentiates traditional Korean folk paintings from Japanese, Chinese, and Western folk paintings, and gives them a global brand value in the trend of K-Culture. Like K-POP and K-dramas, it is important for K-folk paintings to establish their own identity in order to become a representative cultural content of Korea.

Q: There has been a recent explosion in the population of K-folk paintings. What is the reason?

A: There are many factors, but they can be summarized into three main ones.

First, there's the healing and emotional trend. K-folk paintings have warm colors and symbolic meanings that can relieve stress and calm the mind.

Second, popularization as a hobby art. Previously recognized as a specialized art, it is now becoming a hobby that anyone can easily learn.

Third, the spread of Hallyu culture. As interest in Korean culture such as K-POP and K-dramas grows, people are naturally interested in K-folk painting, a traditional art form.

More and more people are trying to learn K-folk painting in foreign countries, and global exhibitions and collaborations are also on the rise.

Q: What are your strategies for promoting K-Folk Painting globally?

A: We are implementing several promotional strategies to establish K-Folk Painting as a global brand. By utilizing digital content, we are sharing K-Folk Painting lectures, artwork introductions, and exhibition news on YouTube, Instagram, and TikTok to make it accessible to people around the world.

Through NFT and Metaverse exhibitions, we digitize K-folk paintings into NFTs and hold Metaverse exhibitions to create an environment where they can be enjoyed without borders.

Through collaborations with Hallyu content, we collaborate with K-POP music videos, K-dramas, and fashion brands to expose K-folk paintings in a natural way.

We hold international exhibitions and workshops, as well as K-folk painting exhibitions in major cities overseas, and run hands-on workshops to generate global interest.

By expanding our education programs, we are working to connect with online lecture platforms so that K-folk painting can be learned overseas, and to include K-folk painting in art curricula in each country.

Q: What do you see as the future direction and prospects for K-Folk Painting?

A: K-folk painting is just beginning to gain traction in the global market, and we expect it to go beyond mere exhibition and education to create greater value by combining with various industries. For example, it will be fused with contents such as games, animation, and movies to make it more accessible to the global MZ generation. The K-Folk Painting Research Center will also expand its domestic and international network and strive to grow K-Folk Painting into a global cultural brand through continuous research and promotion.

Q: Finally, what would you like to say to those who are interested in K-Folk Paintings?

A: K-Folk paintings serve as a bridge between tradition and modernity. I hope that people can feel the depth of our culture through K-Folk paintings, which are filled with Korean beauty and philosophy, and that the warmth and hopeful message of folk paintings can be conveyed to many people. The K-Folk Painting Research Center will continue its research and activities by establishing branches across the country, so we look forward to your interest and support.