Song Byeok was born in North Korea and chosen to be a propaganda artist, but suffered during the famine of the 1990s when his father drowned crossing into China for food. He was imprisoned in a labor camp, but escaped to South Korea in 2001. As an artist in South Korea, he uses techniques from his propaganda training to satirize and expose life in North Korea, including paintings depicting Kim Jong-Il in drag. His work aims to give hope to those still suffering in North Korea and show the importance of human dignity and freedom.

1. North Korea’s Warhol

2. Song Byeok (not his real name) was born in North Korea
and at the age of 24 was chosen to be a propaganda artist
for the DPRK regime.
During the famine of the 1990s, in which millions died,
Song Byeok and his father would cross the Tumen River
into China to seek food. On one of these trips, Song Byeok’s
father drowned and he himself was captured by North
Korean soldiers and sentenced to four months in a labour
camp. In that time he suffered broken bones and teeth, and
lost most of his right index finger to an infected splinter.
After his release, he escaped to South Korea via China in
2001. His first exhibition was in 2011; he claims the DPRK
government has been trying to kill him since then. He uses
a pseudonym to protect his family members who are still in
North Korea.

3. Song Byeok uses the techniques and subjects he used as a
propaganda artist to make fun of DPRK propaganda and its
constant message of public happiness and perfection.
Many of Song Byeok’s most famous pieces involve painting
late leader Kim Jong-Il in drag, although he stopped
painting him after the Leader’s death.
He also repeats motifs of birds and other winged animals to
underscore the lack of freedom experienced by North
Koreans in contrast to animals. His work tends to be full of
complex symbolism.
Like Warhol, Song Byeok often repeats images of people
and objects to render them meaningless or to draw
attention to their uniformity, lack of variety and their mass-produced
nature.
Song Byeok also uses a mixture of modern and traditional
techniques and materials, including jang-ji, a Korean paper
used in older paintings.

5.  Here, Song Byeok reproduces Marilyn
Monroe’s famous pose to suggest that
North Korea is also trying to hide
something. The title encourages Kim to
reveal the DPRK to the world.
 The very act of painting Kim Jong-Il is
shocking, as only special court painters
were allowed to paint him, not ordinary
propaganda artists. Song Byeok is taking
the leader’s image out of the DPRK’s
control and revealing him to be just a
human being.
 The red fish jumping out of the water
represent North Korean citizens longing for
freedom, of which Marilyn Monroe is a
symbol.
 The reference to Monroe is also a homage
to Warhol, who frequently painted the
actress. Song Byeok has also painted
Warhol’s famous Campbell’s soup cans into
several of his pieces.

6.  The painting takes its inspiration from the famous mass games held in
the DPRK.
 The women performing are elegant and organised, but ultimately
faceless and uniform in dress and figure.
 The DPRK flag is made up of many tiny placards being held by the
audience, who are obliterated in favour of a national symbol.
 The tight organization of the performance is in contrast to the birds,
who fly where they will and shed feathers, ruining the game’s perfection
with their freedom.

7. ‘Freedom’ is quite a clear image of a group of people breaking the
chains that hold them back from the world – a reference to
Marx’s famous command ‘Workers of the world, unite! You have
nothing to lose but your chains.’
Fragments of broken chain spell out the word for ‘freedom’ in
Korean (자유 )on either side of the group.
Red is a colour which is strongly associated with Communism
but also with the dawn, so the figures might be marching into
the dawn of a new metaphorical day.

8.  This is a painting done in traditional style and shows the area on the
Tumen River, which divides the DPRK and China, and where Song Byeok’s
father drowned. The perspective is one of looking from China back to
North Korea.
 At this distance it looks peaceful and timeless, but up close, the tiny
vignettes show North Koreans struggling through a time of want by fishing
in the river and trying to farm. Broken equipment and women doing
laundry in the river are also shown.
 At the top of the mountains, propaganda posters extol Kim Il-sung as the
sun. However, the greyness of the scene suggests that the leadership,
although it claims to support them, has abandoned the people just like the
actual sun has.
 This is my favourite work of Song Byeok’s because of its use of stillness and
calm to suggest the exact opposite – trouble and worry. More detail of the
painting can be seen in this interview and this BBC profile.

9.  The children in this painting smile and wave while holding standard
propaganda reading primers.
 Although the children look playful and happy, their eyes are closed,
suggesting that they do not know the reality of life in North Korea.
 One or two of the children seem to be hiding from the viewer, either out of
playfulness or fear, and some of their shoes have holes in them, suggesting
that they are not as well off as you might think at first glance.
 The flower suggests youth and hope, but one of its petals has already
dropped, implying decay and death.

10. “Most people are just living day-to-day, oblivious to
the preciousness of human dignity and freedom. I’d
like to let them know how precious they are... I want
to deliver a message that gives hope to those who’re
living in despair, saying, ‘We can all live in peace’.”

11. Interview with Song Byeok (in Korean)
Review of Song Byeok’s life and work (in French)
Review of Song Byeok’s show in Atlanta, GA
Review and biography of Song Byeok
Song Byeok’s FB page
Interview with Song Byeok
Interview with Song Byeok and review of his show in
Washington D.C.
CNN report on Song Byeok
BBC profile of Song Byeok
Interview with Song Byeok on his training and goals