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.

Drawing the organic form of plants in nature with a detailed sense.

Vassily Kandinsky pioneered abstract painting in the early 20th century. He believed that geometric forms, lines, and colors could express the inner life of the artist—a theory quite evident in his own explosive paintings, which were often inspired by music. Today, Kandinsky’s canvases sell for tens of millions at auction and belong in the collections of the Museum of Modern Art, the Art Institute of Chicago, and the Tate, among other prestigious institutions. In 1911, Kandinsky played a central role in organizing Der Blaue Reiter, a group of avant-garde artists in Munich that included Franz Marc and Paul Klee. From 1922 to 1933, he taught at the Bauhaus, the historic Weimar institution that brought together artists including Josef Albers, Lazlo Maholy-Nagy, and Piet Mondrian.

Kittisak Thapkoa was born in 1989. He graduated from faculty of fine arts, Silpakorn University. He expresses the story in terms of realization and awareness of morality. Buddhism is the religion that teaches humans to be able to perceive the truth of the world. Humans cannot get away from birth, aging, suffering and death. 

He has participated in group exhibitions both in Thailand and abroad(USA). He even received the art awards from Toshiba “Brings good things to life” art competition in 2005, 2007 and 2011. The second award National arts by Bangkok bank and the winner of Bualuang 101 art contest in 2012. Moreover he is accepted from global collectors, Art state Singapore in 2016, Art state Jakarta in 2017, and Art expo Malaysia in 2018.

I once read a column by a Korean journalist. In it, he recounted a moment during his travels in the Middle East when he suddenly remembered a novel he had read in his youth that had left a deep impression on him. On a whim, he stepped into a shop and purchased a carpet. Rather than placing it on the floor, he brought it home and hung it on the wall as a decoration.

While working on my own practice, I found myself struggling for a time, unsure of what kind of painting I should make. Some pieces came easily, but others did not. As I looked at the discarded canvas and paint, I tried to understand the cause, but I could only feel lost and uncertain. Recently, however, I had a chance to look deeper into myself. A few significant events—some big, some small—created that opportunity. I began to retrace memories I had previously passed over without much thought, flipping through old photo albums, selecting images that resonated with me in a different way than before. I even read the novel that had inspired the journalist.

In the novel, the carpet is a gift given to the protagonist by an old poet when asked what life is. Only later, after experiencing the various hardships of life, does the protagonist come to understand its meaning. The carpet affirms the purposelessness of life. Just as the weaver wove the carpet to fulfill their own aesthetic sensibility, without any other purpose, we too must accept that life is not about clinging to each and every event, but about recognizing that our own pattern is gradually taking shape.

Reflecting on the story, I felt a sense of peace. Like the weaver crafting the carpet, like the journalist who chose to hang it on the wall rather than lay it on the floor, I fixed raw canvas directly to the wall, without a frame, and traced its surface with dry, short brushstrokes, as if following the warp threads of a carpet. This method of working felt natural. As I focused on the rough texture of the brushstrokes, the painting began to take on a pattern of its own.

oo Young Choi(b.1993, Korea) works from a place of deep agony over the notion that ideas branching out from the root of the “I” must inevitably exist in the context of relationships with the other. Choi expresses this idea as a faceless “black dot,” a character that represents the artist’s thoughts — along with those of many others in modern society. Containing both the stability of belonging that comes from a uniting, intertwining crowd as well as the unavoidable sense of isolation that occurs in any relationship, the duality of the “black dot” is sure to strike a chord with anyone living in the present era. Individual yet multiple, unfamiliar yet comforting, the “black dot” speaks to us all.

In a practice that spans film, photography, and installation, Arthur Jafa confronts the beauty and alienation at the heart of Black American experience. The artist often juxtaposes original and found footage, exploring the possibilities of images and their archives. Jafa studied film and architecture at Howard University. Before focusing on fine art, he enjoyed an illustrious career as a cinematographer and worked on iconic films such as Daughters of the Dust, Crooklyn, and Eyes Wide Shut. His breakout work, 2016’s Love is the Message, The Message is Death, was shown at institutions around the world, including MOCA Los Angeles, ICA Boston, and MCA Denver, among others. He has been included in exhibitions in New York, Los Angeles, Chicago, Amsterdam, and elsewhere. In 2019, Jafa won the Golden Lion Award at the 58th Venice Biennale for his film The White Album.

For Hyunmo Yang, drawing is an observational attempt of self-reflection that leads to a process of balancing. Fragments of daily experiences and emotions manifest as oscillating lines or dense shadowy spaces-proving the interstices of Yang’s painting and existence.

Rachata Siriyakul was born in Thailand and studied till 8th grade. He started to learn art in “Nanyang Academy of Fine Arts” Singapore in 2015. Later in 2017 he studied art at the school of John Angel (Pupil of Pietro Annigoni) and Martinho Corriea pupil of John Angel, Florence, Italy before moving to purposefully directly study art with Odd Nerdrum, a famous Norwegian painter. In 2018 he participated in an exhibition at Bangkok Art Biennial, Theatre of Indulgence Gallery by Lotus Arts de Vivre. Moreover in 2023 he participated an international art fair in Art Busan.

Jeroz illustrates the romance that dwells within the urban coldness. In a story-like circumstance, the character's sunglasses conceal their eyes and their moustaches cover their mouths, allowing the audience to infer and assume the facial emotions of people with unknown faces as situations in work. The strong saturation and contrast of the dark night reflect the location's temperature, and each moving animation piece contributes to the work's amusement. The introduction of the work is written as an excerpt from a novel, offering the audience the opportunity to explore the content before and after it. The artist hopes that the universe shown in the painting is a world that is both cool and romantic, and in which the viewer lives fiercely. 

Based on an interest in 'how a wishing heart manifests in daily life,' Seokwoo Chung visualizes the energy emitted when a being strives toward something. He is fascinated by the flow of consciousness formed from cause and effect, and by the culture of wishes permeating the mundane. Drawing inspiration from the fundamental cultures of various religions, his current work extends the realm of the canvas by basing it on painting and incorporating installations in space. He implements a device that amplifies the characteristics of each, by going through various processes with painting works that correspond to the nature of specific spaces or places.

Salvo was an Italian Conceptual artist that transitioned from producing austere sculptures to painting richly colored depictions of the Italian countryside. Born Salvatore Mangione on May 22, 1947 in Leonforte, Italy, he became associated with artists of the Arte Povera movement during the late 1960s, meeting Alighiero Boetti, Mario Merz, Gilberto Zorio, and Guiseppe Penone, while living in Turin. Originally achieving recognition for his text-based works—which consisted of his name or a tombstone for himself—Salvo began painting in 1973. Characterized by simplified forms reminiscent of the early Modern avant-garde. These dream-like scenes like are reminiscent of the Italian Metaphysical painter Giorgio de Chirico. In 1977, the Museum Folkwang in Essen, Germany gave the artist his first retrospective. He died in Turin, Italy on September 12, 2015 at the age of 68.

Ricardo Passaporte's work draws attention to the hand-drawn, homespun nature of their creation by
referencing Outsider Art and engaging with the repetitiveness and impulsivity of graffiti. The artist explores
the symbolic nature of found images and uses this material as inspiration to inform his practice. Passaporte
takes interest in and raises questions around the nature of making art, as well as the dichotomies between
the mass-produced and the uniquely singular art object.

“Unlike my unstable self, who might suddenly disappear or explode, I was drawn to the beautiful stability found in the order and systems of physics.” Hyojeong Son (b.1987) begins her work from this contemplation. Her practice is deeply rooted in an inquiry into physics and mathematics, which she interprets through visual language. Simple symbols and geometric forms serve as the foundation for carefully constructed compositions, imbued with balance, direction, and structure. Her complex visual systems incorporate light, space, and collage to transcend linear time and express invisible forces. Son’s work operates as both a visual investigation of physics and a poetic bridge between science and art.

Jaeyeon Leem explores a strange sense of novelty from unfamiliar sensations. The artist earned her undergraduate degree in painting from Ewha Womans University and is currently pursuing her master’s in the same institution. In her painting, peculiar emotions entangle with the world and result in its own fantasies. As our familiar world feels inadequate and incomplete, this uncharted mystic realm exerts a greater force upon us. The mythic motifs that appear in her work serve to amplify these sensations of strangeness, mystery, and fear that we have not encountered previously in our world. The unseen and unexperienced world feels like the underbelly of the real world, yet it is a space that makes us conscious of the depths within the human mind. 
Her art seeks to reconcile the coexistence of dualities such as reality and unreality, desire and repression, good and evil, beauty and ugliness, and within these tensions, she expresses the will and hope of life, aspirations, yearnings and fears. Her abstract gestures, intertwined with hidden forms, continually weave a narrative between the worlds she has experienced and those she has never encountered, revealing the artist's connection to an alien and mystical realm. The artist’s work is akin to myths - mysterious yet not fantasy or fiction bur rather a world that closely resembles the non-fictional, one she has sensed and felt.

Mahdi Abdullah is one of Indonesia’s most significant painters. He graduated from Faculty of Architecture in Banda Aceh (1988) before earning his master degree at Indonesian Art Institute Yogyakarta in 2012. His works use realism to depict his anxieties about the social reality that he has witnessed while focusing on the life of common people from his hometown. At first, the images might look calm and peaceful but there’s dualism existing in each work.
“It is an introspection, an inventory of his thoughts and feelings that he found inside. Sometimes they’re dreamy, poetic, sometimes mirroring fears and terror, leaving the plane of realism and opening almost surrealist dimensions,”-quoted from art writer Anton Larenz about Mahdi’s realist approach.
He has several exhibitions locally and internationally, with his works present in various collections from museums, galleries and private collectors abroad.


Phichai Keawvichit (b. 1975) is a talented photographer characterized by his minimalist photography of architecture, gaining a reputation from his Instagram with 80,000 followers and interview articles by several media. He presented many photography exhibitions in several locally famous photo galleries such as Accidentally Professional Exhibition (2019) in Silpa Bhirasri’s House, Unlock solo exhibition in 2019 at River City Bangkok, Urban Progress group exhibition in 2021 at Bangkok Art & Culture Centre, and this latest one The Memoir of Movement in 2022 at River City Bangkok is regarded as his second solo exhibition. Aside from photography, Phichai loves writing to share his insightful stories. He is currently the ‘Ekaphab’ columnist publishing his articles in Matichon Weekly.


Chu Mirim(b. 1982) is based is Seoul. Using pixels as elements in her work, Chu engages in formative experiments that go beyond design and fine art. She critically explores keywords related to computer graphics, pixels, and the internet etc., and she has great interest in producing work where the cross- sectional aspect of images used in social network sites may be viewed from various angles. All her works, in particular, transform a visually hidden web-based society into a series of images, reflecting the artist’s intention to directly present the digital landscape around us. As time passes, her perspective which looks at the life forms of the contemporary young generation gets brought out across a more diverse spectrum.

Gyu Ok (B.1979) graduated from Dong-duk Women's University College of Arts in Painting (B.F.A.) and completed a master's degree (Diplom) at Munich National College of Art with Sean Scully and a doctorate in painting at Dongduk Women's University. She participated in nine solo and several group shows internationally. Also, she was selected in the Art Factory Dadaepo (Busan) Residence and Kunstdog (Leipzig) Residence. It is owned by the National Department of Modern and Contemporary Art and the Art Bank, and by a number of businesses and personal collectors. She currently lives and works in Atlanta, U.S.

Yerim Choi's paintings focus on the present. The 'moment' is one that has not been found or is easily neglected. The artist has the desire to capture and convey these moments to the public. She majored in the Department of Fine Arts at Seoul National University of Science and Technology, and she continues to capture and recall pleasant recollections. Warm moments pause the movement of busy individuals, and the artist uses this moment to communicate with the audience and transmit warmth. Warm moments give confidence to confront the next difficulty, allowing for the next stage of recovery in daily life. The artist believes that the world as seen through her eyes will be reinterpreted and conveyed with a new tenderness.  

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