First Stage
From birth to Whimoon Middle School
Kim Chong Yung entered the world of art through calligraphy, which served not only as the very basis of his works on sculpture for the rest of his life but also as a vital part of his physical and psychological training. Kim had never dreamed of becoming a sculptor until he met his mentor Bal Chang at Whimoon Middle School who recommended him to become a professional sculptor. During his teenage period, he undergoes various types of art trainings including calligraphy and oil paintings until he enters Tokyo Art School in 1936. Even though he had not yet received official training on sculpture, he made and during this period, which show great potential and talents of a young artist.

Second Stage
From the period of studying in Japan to the transitional period before joining Seoul National University
Kim Chong Yung learns realistic and non-abstract sculpture at Tokyo Art School in Japan. However, he is more impressed by the works of Georg Kolbe and Constantin Brancusi introduced through the art books of modern western sculpture than the scholastic style of Japanese professors. Kim gradually moved on from working on reproductive human figure sculptures to organic and geometric forms.

Third Stage
Start of Modernism, the era of Iron
During this stage, modernism started to gradually take its root in his works and simple formative properties and artistic effects were displayed which reminded the viewers of the works of Hans Arp, Hanry Moore and Constantin Brancusi. His famous piece that won the award at the international sculpture contest held in London for unknown political prisoners as well as submitted to the 2nd Korean Art Exhibition in 1953 show that his works had started to move from reproductive human figure sculptures towards abstract that lies at the core of formative art. In particular, Kim started to produce abstract sculptures in earnest from late 1950s like with iron.

Fourth Stage
Organic and geometric sculptures
Most of the works produced during this period are those that have transformed filling and emptying art of calligraphy into cubic sculptures. Kim also focused on pure abstract works that revealed the genuine forms of nature. While striving towards making abstract sculptures with organic forms, Kim also produced geometric sculptures in which the entire design showed closely intertwined and dynamic composition like an organism within one body.

Fifth Stage
The era of Non-sculpting
Kim Chong Yung left the largest number of art works during this period and they were mostly sculptures that combined the western minimalism with oriental ideology of non-sculpting. It was also a period that completed Kim’s artistic ideology that excluded artificiality while searching for the fundamental source of forms. Kim’s search for the artistic truth and refusal to be deceived by the natural truth the materials held in their weight and antennal features finally led to the production of sculptures of non-sculpting.