In “Tracing Picasso,” Chae Tongyull doesn’t copy the Spanish master—he traces him. Not in outline, but in essence: transforming Picasso’s fractured forms and split faces into something entirely his own. Across 47 unique one-of-one works, Chae anchors each piece in a circular composition, revisiting themes he’s long been drawn to: lovers in close embrace, eyes locked or joined in a single gaze. Painted with oil and acrylic on paper, “Tracing Picasso” is a return to the visual vocabulary that helped shape him, now rewritten in his voice.

In “Tracing Picasso,” Chae Tongyull doesn’t copy the Spanish master—he traces him. Not in outline, but in essence: transforming Picasso’s fractured forms and split faces into something entirely his own. Across 47 unique one-of-one works, Chae anchors each piece in a circular composition, revisiting themes he’s long been drawn to: lovers in close embrace, eyes locked or joined in a single gaze. Painted with oil and acrylic on paper, “Tracing Picasso” is a return to the visual vocabulary that helped shape him, now rewritten in his voice.

In “Tracing Picasso,” Chae Tongyull doesn’t copy the Spanish master—he traces him. Not in outline, but in essence: transforming Picasso’s fractured forms and split faces into something entirely his own. Across 47 unique one-of-one works, Chae anchors each piece in a circular composition, revisiting themes he’s long been drawn to: lovers in close embrace, eyes locked or joined in a single gaze. Painted with oil and acrylic on paper, “Tracing Picasso” is a return to the visual vocabulary that helped shape him, now rewritten in his voice.