“Ink. Brush. Paper.” Exhibit: Korean Sumukhwa art highlights women’s empowerment in Milwaukee

EXPLORING KOREA: Stories from Milwaukee to the DMZ and across a divided Peninsula. This special series explores historical sites and cultural traditions from across the Korean Peninsula, building a bridge back to the search for identity in Milwaukee. From the occupation of Korea at the end of World War II, to Korean War veterans in Milwaukee, veterans from Milwaukee who served in later years at the DMZ, adopted South Korean children who grew up in Milwaukee, different waves of the South Korean diaspora who moved to Milwaukee to raise their families, and even a defector from North Korea, their stories share generations of Korean and American experiences. https://mkeind.com/koreanstories

The recent “Ink. Brush. Paper.” (지필묵) exhibition in Milwaukee offered a rare glimpse into the tradition of Korean ink-brush painting, a practice steeped in history, discipline, and philosophy.

MARN (Milwaukee Artist Resource Network) continues to play a pivotal role in promoting diverse artistic voices in the city known for its cultural history. Located in the Third Ward, the creative nonprofit hosted the exhibit from September 6 to October 20.

“Ink. Brush. Paper.” was more than a display of visual art. It was a celebration of Korean cultural expression, embodied in the works of Mokwon, Subsoo Lim and her 15 student artists.

Known as Sumukhwa (수묵화), Korean ink-brush painting is a traditional art form that uses black ink in various concentrations and brush techniques to create depictions of landscapes, nature, or animals with colored accents.

The curator of the exhibition, Samantha Timm, shared her insights during the September 6 reception about the significance of the event, highlighting both its artistic and cultural relevance.

“This show is a huge honor for us to host at MARN’s Art and Culture Hub, here in the Third Ward of Milwaukee. It’s a show about cultural transmission, centered around Mokwon’s goal of passing on the very expansive tradition of Korean ink-brush painting,” said Timm. “The way it’s taught and practiced is extremely different from how many contemporary artists work today.”

In the context of Korean art, Mokwon (목원) can be best understood as a title or artistic pseudonym that reflects the artist’s spiritual or philosophical perspective. Korean artists, particularly those influenced by traditional Eastern philosophies such as Confucianism, Buddhism, or Daoism, often adopt such titles to signify their connection to deeper cultural, spiritual, or artistic values.

“It’s rare to see this kind of work in Milwaukee,” said Timm. “Mokwon’s art is displayed on the outer walls, embracing her students, symbolically guiding them.”

Timm felt that the exhibit was a perfect fit for MARN’s mission-aligned focus to help artists grow their practice and connect to the creative ecosystem, bridging the gap between local Korean American artists and the wider public. The “Ink. Brush. Paper.” exhibit accomplished that by offering Milwaukeeans a chance to engage with an art form that was both foreign and familiar in its themes.

“The Korean culture is deeply infused into the art, both through Mokwon’s instruction and the students’ practice,” said Timm. “What surprised me the most was the dedication involved in this art form. Students spend months perfecting one gesture or line. It’s about mastering the movement of the hand, not just creating a representation. The simplicity of the work is deceiving. It looks effortless, but it’s beautiful because of the subtlety and discipline behind it.”

Lim is a highly respected Milwaukee artist from South Korea known for her expertise in traditional ink-brush painting. Ranging from delicate floral compositions to intricate landscapes, her artwork is distinguished by the elegance and precision of her brushwork, reflecting a connection to the natural world and her Korean heritage. With a career spanning four decades, Lim has gained recognition as an artist, a mentor, and a leader in the art community.

“Painting is everything in my life. During the most difficult and challenging times, if I hadn’t been someone who painted, I don’t think I could have endured it. That’s why I don’t place too much importance on the outcome of a painting,” said Lim. “The moment when I paint, cherishing both the act of painting and the challenging process that comes with it, is when I am the happiest.”

As a canvas for her artwork, Lim uses hanji (한지) the traditional Korean handmade paper crafted from the inner bark of the mulberry tree, known as daknamu (닥나무), rather than rice. Although often referred to as “Korean rice paper,” the term is inaccurate and misleading, as it is made from the mulberry tree’s fibers.

Hanji has been used for centuries in Korea for a variety of purposes, including calligraphy, painting, bookmaking, and even in crafts such as making lanterns, screens, and furniture. It is known for its durability, versatility, and soft texture, making it ideal for traditional ink-brush painting.

Its ability to absorb ink and retain color makes hanji particularly suitable for the expressive brushstrokes seen in Korean art, contributing to the fluidity and grace that characterize the works. Its long fibers allow for durability and flexibility, which is also why it has been so highly regarded in Korean culture for both artistic and practical uses.

“I wanted to introduce Eastern art to a place where Western art is predominant. That’s why I’ve held exhibitions and taught students, to share Korean art more widely,” said Lim. “Part of my goal is also to display original Korean paintings, especially for immigrants in the Milwaukee area, as I’ve found many people here are curious about traditional Korean art.”

Showcased in numerous international exhibitions, displays of Lim’s work include solo shows and more than 200 group exhibitions across South Korea, Japan, Taiwan, China, South Africa, and the United States. Her paintings are also featured in the permanent collection at the Korean National Museum of Art.

“It has been rewarding to see the growing global interest in Eastern culture, especially Korean culture, and more people who are becoming curious about it,” Lim added. “This has led to an increasing number of students wanting to learn about Korean traditional painting. Through teaching, I hope to help students experience Korean art and culture firsthand.”

Since relocating to Milwaukee five years ago to be closer to her family, Lim has continued to share her craft with the local public. In addition to her artistic career, Lim has been dedicated to fostering the development of other artists, particularly women. She founded two artist associations, Yeonji (연지) and Gayeon (가연), which have created opportunities for women painters to exhibit their work throughout East Asia.

“It’s been a wonderful opportunity for me as a curator to work with Mokwon and collaborate with her on the show,” said Timm. “It was a true collaboration. I’m not an expert in this style of painting, so we worked together to ensure the art was displayed in a way that aligned with her practice and discipline. I’m thankful she trusted me with it.”

By hosting the “Ink. Brush. Paper.” exhibit, MARN continued its mission of supporting the work of underrepresented groups. The narratives of Korean American women artists bring vital perspectives to the city’s creative landscape. That significance goes beyond just adding more variety to art exhibitions. It is also about inclusion, visibility, and empowering voices that have historically been overlooked.

Korean women, both in Korea and abroad, often navigate a complex cultural identity, shaped by traditions, societal expectations, and the pressures of modernity. Their art reflects that unique intersection, providing a window into stories that many might not encounter otherwise.

During the opening reception, Timm said it was her hope that the public felt invited to look closer and keep learning.

“I also hope they speak to the artists in the show. There are many of them, and I’ve learned a lot from them during the installation process,” Timm added. “They each have their own artistic voice, and I think of them as two distinct cohorts: one from Milwaukee and one from Chicago. I also hope it gives the public an opportunity to get to know these artists better.”

By providing these women with a platform, MARN helps dismantle stereotypes, offering a counter-narrative to the limited and often misunderstood depictions of Korean culture in the West. Art is one of the most powerful mediums through which people can understand different worldviews, and Milwaukee’s cultural scene thrives most when it reflects the global community.

For Korean American women artists in particular, the opportunity to present their work within the Milwaukee art space was a chance to share their heritage and explore personal experiences of migration, identity, and womanhood.

As the creative work of Korean women gains more attention globally, Milwaukee can contribute to the movement by ensuring those voices are heard locally.