Atreyu Moniaga is an Indonesian ar=st based in Jakarta. He graduated with a degree in Communica=ons and Visual Design from the Jakarta Ins=tute of the Arts (IKJ) and started his career in the crea=ve scene as a freelance illustrator and photographer before fully immersing himself as a fine ar=st.
His works are influenced by dark fantasies with a =nge of surrealism, in which he combines visual symbolisms as a way to communicate his most private thoughts, feelings, and desires. His works are characterised by a whimsical universe , led with beau=ful ornamental details.
‘Complex emo=ons that are oDen perceived as nega=ve, such as despair, grief, and anguish are fuels to my ar=s=c process. I try to convey these emo=ons through the visual universe I invented,
though I hope my audience can find a source of hopefulness and self- acceptance to confront their own grim facets. I oDen allow myself to be lost in my own thoughts, where I feel unbound in crea=ng these fic=onal stories and characters found in my works, my universe.’

Joan Miro was a Catalan artist born in Barcelona in 1893. A painter, sculptor, engraver, and ceramist, Joan Miro was one of the main representatives of the Surrealist movement, marked by the exuberant character of his native province. In the beginning, he showed strong Fauvist, Cubist, and Expressionist influences before evolving towards a flat painting marked by a certain naivety and then sliding towards a more dreamlike work in a Surrealist spirit. From 1923 onwards, he created a style free of cubism in which a fantastic universe populated by strange symbols and geometric forms was born from his imagination. Miro tends towards an original combination of sometimes disturbing and sometimes joyful elements that plunge into the unconscious, the imagination, and poetry. His world is often magical and strange. Over time, his paintings become more abstract and the forms more organic, even though a theme is always recognizable.

Sakhai received her Bachelor’s in Art History and Fine Arts from Hofstra University, and currently serves on the advisory board for the College of Liberal Arts and Sciences. She received her Masters in Fine Arts from the Academy of Art University and has studied internationally including d’Arts Plastique I Disseny (LLOTJA) in Spain. Additionally, she has taught art at the University of California, Berkeley. Her paintings are exhibited in galleries around the world including Tokyo, Ibiza, Miami, Carmel-By-The-Sea, Berkshires, Dallas, and New York City. Her art remains in both private and public collections including the Montefiore Einstein Medical Center, The Fairmont Hotel in San Francisco, and Kamakura Park in Japan. Sakhai's work has been exhibited in Universities including Stanford, Michigan Medicine, The Academy of Art, Hofstra, and Mary Hardin-Baylor. She recently published her first book titled ‘Awakening’, a compilation of 200 of her paintings.

JHR’s projects explore the ways in which the problems we face in reality are dealt with in the virtual space. Hyeryun JUNG(b.1977, S.Korea) has been creating material/non-material visual works with aspecial interest in the organic relationship humans develop with their environment. She completed her Ph.D.(2014) in Fine Arts at Pusan National University. Her main solo exhibitions include US2-Migration(Soma museum of art, Seoul, Korea, 2023), Treasure island(Rhee Seund Ja Jinju Art Museum, Jinju, Korea, 2020), Landscape of –1(L'H du Siege Art Center, France, 2019), and Serial Possibility-planet(HIGURE17-15cas, Japan, 2016). She has also participated in numerous projects and group exhibitions at home and abroad such as the inaugural exhibition of the Museum of Contemporary Art Busan(2018), Biennial InterAction NAPOLI(Made in Cloister, Napoli, Italy, 2023) and Kenpoku Art Triennale (Fukuroda Falls, Japan, 2016).
She received the First Soorim Art Award from Soorim Cultural Foundation(2017), was selected as a Young Sculptor of Today by Kim Chong Yung Museum(2012), and joined residency programs at L'H du Siege(Valenciennes, France, 2018) and Kuandu Museum of Fine Arts (Taiwan, 2013).

Chris Measor, born in Ottawa, Canada in 1984, graduated from the Musashino Art University in Japan. He has participated in numerous group exhibitions both domestically and internationally, including two solo exhibitions in Thailand and South Korea. Based in Busan, he continues his artistic endeavors and is an artist whose international career is highly anticipated.
Chris Measor expresses various themes in his work, including European mythology, satire, philosophy, history, politics, and film, by anthropomorphizing animal characters. The animal figures in his works, such as cats, dogs, and rabbits, serve as engaging mediums that attract the audience's interest and guide them through the narrative. By using animals as motifs, the artist avoids potential biases that might arise from depicting human characters, where aspects like race, class, and age could distort the essential meaning he intends to convey. He aims for viewers to immerse themselves in the storytelling without preconceived notions. The artist encourages a reflection on the everyday characters that might be overlooked and hopes that each character in his works represents the protagonists of life, inviting the audience to explore their diverse stories. He creates a layered base on wooden panels using gesso and sanding techniques, applying acrylic gouache and acrylic ink to achieve depth and detail in his artwork.

Deborah Segun (b. 1994) is a multidisciplinary artist from Lagos, Nigeria, and now based in London, UK. She obtained a degree in Fashion Design at the Polimoda Institute of Fashion Design and Marketing in Florence, Italy in 2017. During her studies in fashion, she translated her own art
production into clothing, creating conceptual and sculptural wearable pieces.

Bac Jungwon has drawn compositional paintings that express the invisible emotions and minds of humans through various scenes encountered in daily life. After receiving a bachelor's and master's degree in Fine Arts from Kookmin University, she painted unusual, dreamlike, and dramatic situations, but in her mid-30s, she began to paint natural objects and everyday landscapes. Her paintings reveal the fragile psychology and feelings of contemporary people, which are concealed beneath the solid shell of civilization. The artist portrays difficult-to-express psychological levels through a variety of painting mediums, including sketching, watercolor, and oil painting. It defines creation as the discovery of remarkable moments in the repetition of her previous everyday existence and the transformation of the meaning into a material known as painting and reconstructs a daily life from her own unique perspective.

Edgar Plans (Madrid, 1977), categorized as the most popular Spanish contemporary artist,
grew up and is now based with his family in the northern Spanish town of Gijón. After
earning a degree in Art History from the University of Oviedo, Plans started to participate in
small exhibitions in local galleries. As of today, his works have been exhibited in Museums
such as the MOMA Museum in Moscow Russia, the Xiao Museum in Rizhao, China and the
S2A Museum in Seoul, South Korea.
Plans oil painting pushes boundaries and combines traditional techniques with modern
perspectives. He experiments with diverse styles, from realism to expressionism, creating
captivating narratives and evoking deep emotions. Through vivid colors, dynamic
compositions and innovative approaches he challenges conventions and invites the viewer
to engage in thought-provoking dialogues about identity, society and the human experience.

The narrative in literature, as a distinctive discourse system, is based on real life. Through logical coherence, description, lyricism, and interpretation, it creates a distance between fiction and objective reality. The creative inspiration for this exhibition's works originates from Yan Jingzhou's journey to the UK. However, the imagery of British elements goes beyond regional characteristics. Much like accomplished science fiction writers and film directors, Yan Jingzhou, through the creation of an alternative world, brings to light historical or contemporary truths that often elude conventional narratives.
Yan Jingzhou's creations are consistently rich with imagination. His unique perspective, akin to a distorted mirror, reflects an apparently similar yet exaggerated infinite world within the confines of a finite frame. In the town of "Buster" in the fictional world constructed by Yan Jingzhou, most characters still possess the classic characteristics of the "Old Buster." The difference lies in Yan Jingzhou's artistic iteration, expanding from a focus on specific character images to a more extensive depiction of various domains through the technique of fictional narrative. One could say that Buster permeates every nook and cranny of the town. Essentially, Buster and the town can be situated in any corner of the world.
In the construction and portrayal of scenes, Yan Jingzhou exhibits a more precise and vivid mastery. He skillfully intertwines reality and imagination through metaphorical techniques, reflecting the authenticity of life and reconstructing a colorful world. In the town of Buster, seemingly ordinary scenes reflect the humorous aspects of everyday life. The simple tone both highlights the charm of the characters and contrasts with the bitterness of life.  The narratives within the town can unfold in diverse directions, accommodating individuals of varying identities and colors. The plot may feature straightforward actions or embrace a diverse amalgamation of characters and settings, transitioning from a semi-realistic portrayal to a novel aesthetic creation and narrative expression.
In front of the green dessert shop in the West district, a police officer holding doughnuts in both hands unexpectedly locks eyes with a thief who, in disguise, is attempting to slip away. At a bar in the North district's nightlife scene, a bartender with a face covered in mayonnaise casts a sidelong glance at a drunken patron lying down. The youngster peddling chewing gum on the diagonal street in the West district during the day morphs into a playful ghost reveling in the East district at night. Around a long table, individuals of different skin tones, each with a distinct expression, gaze at the baked beans held by the first person. In a fast-food restaurant, two adults are distributing three kinds of condiments to seven children, and so forth. Countless stories are unfolding in the town—upper and lower districts, the sky, dinner parties, exams, str

The artist's work invites us to pause from our busy lives and direct our attention to the whispers within our hearts. This is likely because her work, even though it is full of the small and ordinary things of life, evokes a dreamy and free-spirited feeling reminiscent of childhood memories filled with all sorts of imaginations. Furthermore, the clumsy and unadorned appearance, reminiscent of a child's, also captures attention. These rough but heartfelt feelings seem to make the entire work soft and warm. The screen is full of childlike freedom, unspoiled purity, and honesty. As if following the old saying that great skill is rather clumsy, the artist's work transcends the confines of skill and style and freely conveys the artist's heart as it is.(Min Byung-jik, Curator)

For nearly two decades, d'strict—an ArtTech Factory—has been producing outstanding convergent content by utilizing a wide range of digital media technologies. Their robust technical capabilities have shaped the company's impressive repertoire, which upholds the ethos, "perceiving the zeitgeist and fulfilling its demands constitute the essence of art and the spirit of the artist."
d'strict excels at designing user-centric experiences that are often customized to suit the specific spaces their projects occupy, which is achieved through a content creation process that integrates a variety of interfaces and displays.
Renowned for its capacity to craft intense visual experiences, d'strict is constantly seeking innovative ways to fundamentally stimulate and reshape the perceptions and thoughts of people in their everyday lives, with the ambition to enhance their quality of life.

Ellsworth Kelly revolutionary emphasis on pure abstractive forms and innovative treatment of color reshaped the practice of painting in the late 1940s and early 1950s. His approach greatly influenced the nascence of Pop Art, Minimalism, Color Field precipitating the decline of expressionist energetic gestures and the adoption of spare lines and geometries, flatly painted in vivid color.
A sharp observer of the natural world from a young age inspired by the play of light, space and color in the architecture around him, Ellsworth’s use of found compositions was a source of endless inspiration and lifelong artistic openness which he translated into visually powerful multi-panel paintings, sculptures, drawings, prints, and photographs. 
Ellsworth Kelly nurtured a special relationship with France. After serving as a soldier in the liberation of the country at the end of the Second World War, Kelly returned to live in France from 1948 to 1954, and returning to the country regularly throughout his life. 
He befriended Picasso, Calder, Brancusi, Arp and familiarised himself the works of Matisse, Monet and geometric abstraction which would influence his painting, particularly in his quest for balance and intensity of feeling.

Tarntara earned her bachelor's degree in painting, sculpture, and graphic arts from Silpakorn University in 2014. Her art is stylized in a pop-surrealist style and presented with oil painting techniques. The softness of her brush strokes is a standout feature of her work, demonstrating high-level painting abilities. Her artwork is frequently influenced by her own intense emotions, childhood memories, dreams, and surreal fantasies. Tarntara is captivated by women's unique beauty, as well as Eastern culture and ideology expressed in a contemporary style.


Adept in printmaking, watercolor and installation, he is best known for his sculptures, particularly his silhouettes, which range from miniatures to large-scale works. Often disturbing or awkward, the sculptures present distorted expressions and a malevolent presence, exploring the role of the artist in contemporary society.
Architectural models are also an important part of Thomas Schütte’s artistic practice. He has created a series of models, in different scales, including Model for a Hotel (2003), which was installed on the fourth plinth of Trafalgar Square in London in 2007. He refers to the models as a way of opening up works to the viewer: “I use models because they are something anyone can understand. You can see them as a prototype for something bigger, something seen from a child’s perspective; you could see them as a public stage. Schütte has had many solo exhibitions at venues including the Dia Center for the Arts in New York in 1999, the Reina Sofia in 2010, the Serpentine Gallery in London in 2012, the Fondation Beyeler in 2013, and the Kunsthaus Bregenz in 2019, among others. He received the Golden Lion at the Venice Biennale in 2005 and the Düsseldorf Prize in 2010. Schütte’s work is in the collections of the Tate Modern in London, MoMA in New York and the Art Institute of Chicago.

Seungwon Yang majored in photography at Seoul Institute of the Arts and received her master's degree in fine arts from Chelsea College of Arts, University of the Arts London. He creates pseudo-images that blur the boundaries between reality and fabrication using digital images, exploring the possibilities of extending the field of epistemology and photography. He is currently working on revealing hidden aspects of contemporary society, disrupting the taken-for-granted process of perception, and the process of recognizing situations or landscapes that individuals face in modern society. He also captures the heterogeneity created at the intersection of reality and fiction in an expanded concept. He questions the landscapes of harsh reality resulting from a superficial understanding of regions and places, and the differences in materiality visible in the gap between nature and imitation. He has held solo exhibitions at various venues, including N/A (2022), Seoul Museum of Art SeMA Storage (2021), Hite Collection (2019), and SongEun ArtCube (2018).

Lucas Dupuy, born in 1992 in London, has established a unique artistic approach that explores the synthesis of language and form, influenced heavily by the robust and impactful designs of 20th-century Brutalist architecture. His work often explores the relationships between architectural structures and artistic expression, as evident in his paintings and drawings which play with perspective, composition, and structural elements. Dupuy's career is highlighted by numerous exhibitions across prestigious venues in London, Tokyo, and Cologne, showcasing his dynamic use of space and architectural concepts in art. He has received several awards, such as The Acme City & Guilds of London Art School Studio Award in 2017, underscoring his contributions to contemporary art. Additionally, Dupuy engages in multidisciplinary practices, incorporating sculpture and sound installations that complement his visual narratives, reflecting his broad artistic repertoire.

Based on the act of sculpture, which involves cutting, gluing, and chipping away at materials, He is experimenting with rethinking the process and structure of sculpture. He views the act of sculpture as a process of simulating the form of a large sculpture through drawings and small maquettes, rather than simply accumulating masses, and also as a process of reconsidering the internal structure of the sculpture, the hierarchy of masses and surfaces, and revealing the traces created in the gaps of such sculptures. Rather than creating a single direction, the artist explores the act of sculpture and the form of sculpture derived from it, which is directed in multiple directions to perceive the space-time of reality in different ways.

b. 1980, Montalban, Philippines

At the heart of Rodel Tapaya’s work is his ongoing amalgamation of folk narrative and contemporary reality within the framework of memory and history. Utilizing a range of media - from large acrylic on canvasses to the exploration of under-glass painting, traditional crafts, diorama, and drawing - Tapaya filters his observations of the world through folktales and pre-colonial historical research,  creating whimsical montages of his characters.

Selected solo exhibitions include: “Random Numbers”, Tang Contemporary Art (Hong Kong SAR, China,2021); “Myths and Truths”, Tang Contemporary Art, Beijing (China, 2018); “Urban Labyrinth”, Ayala Museum, Manila (Philippines, 2018); “Rodel Tapaya: New Art from the Philippines”, National Gallery of Australia, Canberra (Australia, 2017); “Rodel Tapaya”, Galerie der Stadt Sindelfingen (Germany, 2016). Selected group exhibitions include: “Fragment with Dusty Light” Tang Contemporary Art, Seoul (Korea, 2022);  “Memory, Playfulness, and Stream of Consciousness”, Tang Contemporary Art (Hong Kong SAR, China, 2022); “Falling”, Tang Contemporary Art, Beijing (China, 2022); Heavenly Bodies in the South, He Xiangning Art Museum, Shenzhen (China, 2020); “Far Away So Close!”, ARNDT Agency, Berlin (Germany, 2019).

His work is held in the following museum and institutional collections: Art Gallery of New South Wales, National Gallery of Australia, Tokyo Mori Art Museum, Singapore Art Museum, Philippines Bencab Museum, Philippines Ateneo Art Gallery, Philippines Pinto Art Museum, Central Bank of the Philippines. Rodel Tapaya was awarded the coveted Top Prize in the Nokia Art Awards, which allowed him to pursue intensive drawing and painting courses at Parsons School of Design in New York and the University of Helsinki in Finland. In 2011, he won a landmark achievement for a Filipino artist by winning the Signature Art Prize given by the Asia-Pacific Breweries Foundation and the Singapore Art Museum. He was also among the Thirteen Artists Awardee of the Cultural Center of the Philippines in 2012. 

Ever since I discovered saturated music (Franck Bedrossian, Raphael Cendo) ten years ago at the Versailles Conservatoire, the theme of Excess has become central both to my work as an ar=st and in my personal musings. While challenging the ra=onale of our ultra- modern socie=es and their economic and societal models, my pain=ngs, in a combina=on realism and abstrac=on, explore this concept of excess, in par=cular through the philosophy of Georges Bataille, literature (Pierre Guyotat, Kathy Acker, Hermann Ungar and many others) and contemporary films.
The despicable, the sublime, ero=cism and death are all spheres in which excess comes into play, and I try to connect them in elaborate composi=ons that draw as much on tradi=onal pictorial techniques as on more contemporary aesthe=cs.
I believe that Pain=ng, and Art in general, are at their origins, the expression of an Impossible that derives as much from vacuity as from surpassing limits.

Ryle Russel's works are inspired by popular science fiction references such as brain radiostatic surgery, the song Gamma Knife by King Lizard and the Gizzard Wizard.

Golden Jade Garden

Joan Miró, Revue

True Friendship

Boundless

Bountiful Bouquet

Love Language

In My Dreams

English Garden Series

Temperance, XIV

The Star, XVII

The Lily Pond

A Pink Lily Pond

Remembering

Algid Liles

Ajisai

illusion

Clouds Descending

Even Higher

Co-Exist I

In A Haze

Sounds of Night

Devotion

Without End

US2 - MIGRATION

Lion train driver

Seagull Fishman

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