Woo Lim Lee who was born in 1972 in Kyoungnam Province in South Korea is a Korean Asian Modern & Contemporary painter. He received both his BFA and MFA from Youngnam University. The figures that appear in the mysterious landscape/portrait paintings of Woo Lim Lee project the artist’s utopian desire for protection and insulation from the consequences of a rapidly expanding and fiercely competitive modern world. People look for beauty in nature, heal their wound through nature, and seek repose and meditation within nature. We dream and have a vision of another world through nature. His work is an evocation of the spirituality of modern people derived from their secret, mystic contact with nature. His work is steeped in a longing for mystic power and incantational imagery.


Living and working in Bangkok, Thailand.
Butsapasilaexplores the process of creating collective memories through informal
storytelling across diverse contexts. This includes forms such as folk legends, historical fiction, mystical beliefs passed down orally, as well as conspiracy theories circulating on blogs, alongside personal memories from his own youth.
Much of his work delves into the historical memory of the Thai state, with a particular focus
on the northern region. His research examines the transformative period between the colonial era and the Cold War, a time when perceptions of space were shifting, laying the foundation for contemporary and future worldviews.

Through meticulously balanced images that encourage prolonged attention, Sugimoto’s work focuses audience consideration on the ways in which humanity makes sense of itself. Sugimoto moved to Los Angeles in 1971, receiving his BFA from the Art Center College of Design in 1972. In 1974, he moved to New York, and became involved in the Minimal and Conceptual art scenes of the late 1970s. His best-known series, including Dioramas, Theaters, Seascapes, Portraits, Architecture, Conceptual Forms, and Lightning Fields draw heavily upon repetition, unifying disparate locations through shared compositions, and are characterized by use of long exposures, black and white film, and analog processes. In recent years, Sugimoto has begun to design architectural spaces that, like his photographs, use simplicity of form to focus attention on the mechanisms through which we understand the world.  

Sugimoto has had solo exhibitions at the National Museum of Contemporary Art in Osaka (1989), the Museum of Contemporary Art in Los Angeles (1994), San Francisco Museum of Modern Art (2000), the Guggenheim Museum Bilbao and the Neue Nationalgalerie in Berlin (2008), among many other venues. He has received many honors, including the Praemium Imperiale Award for Painting, Tokyo in 2009 and Officier de L’ordre des Arts et des Lettres, in Paris in 2013. In 2017, he was honored as a Person of Cultural Merit in Tokyo. His photographs are in the collections of the Metropolitan Museum of Art, New York; Museum of Modern Art, New York; National Gallery of Art, Washington, DC; San Francisco Museum of Modern Art; Tate Gallery, London; and many others.

KIM Inbai(b. 1978)'s works are characterized by the form of asking questions from a new perspective and suggesting a different sensory experience, which confronting the socially formed cognitive biases of humans and the limitations of acquiring spatiotemporal cognition by educating. In most cases, he creates sculptures by transforming the human body, and at which time the body is completely dehumanized and presented as a formative mass itself. From a large statue that signified a dignity of an authority; a clod that express a rounded sense of volume without detailed expression of eyes, nose, and mouth; and the rhythm of the body that contained by a wire across the space, the objects he creates are always dismissed or omitted, but it always implies a clue to visualize the whole imagery. Resemblance of human body, KIM Inbai’s sculpture series imply a social and cultural context or sometimes act as an abstract instrument by maximizing the basic elements of sculpture such as dot, line, volume, and texture. Through these processes, his sculpture becomes a point of contact with the external side, and at the same time it occupies a special point of constant transformation in the inner part, and which make their viewer to face a strange situation that is bordered by familiar but unfamiliar and conscious but unconscious. 

 

KIM Inbai has participated in solo exhibition at Perigee Gallery (Seoul, Korea) in 2020, Arario Gallery (Shanghai, China) in 2019, Arario Gallery (Seoul, Korea) in 2014, Arario Gallery (Cheonan, Korea), 2011, DOOSAN Gallery (New York, USA) in 2010, Arario Gallery (Seoul, Korea) in 2007, and Gallery Skape (Seoul, Korea) in 2006. In addition, he has participated in group exhibition at Taehwa River Eco Art Festival (Ulsan, Korea), CoSMo40 (Incheon, Korea) in 2021, Seoul Museum of Art (Seoul, Korea) in 2019, DOOSAN Gallery (Seoul, Korea) in 2019, Arario Gallery Seoul I Ryse Hotel (Seoul, Korea) in 2018, BREGA Artist Space (Seoul, Korea) in 2018, Daegu Art Museum (Daegu, Korea) in 2018, Seoul Olympic Museum of Art (Seoul, Korea) in 2016, Museum of Contemporary Art (Shanghai, China) in 2016, Asia Culture Center (Gwangju, Korea) in 2015, Arario Museum DONGMUN MOTEL II (Jeju, Korea) in 2015, Sungkok Art Museum (Seoul, Korea) in 2015, Seoul Museum of Art (Seoul, Korea) in 2014,  Amore Pacific Museum of Art (Jeju, Korea) in 2014, Gyeonggi Museum of Modern Art (Ansan, Korea) in 2011, MAD (New York, USA) in 2011, Saatchi Gallery (London, UK) in 2009, Busan Biennale (Busan, Korea) in 2006, Seoul Museum of Art (Seoul, Korea) in 2004. KIM Inbai participated in residency program at Seoul Museum of Art (Seoul, Korea) in 2017, DOOSAN Gallery (New York, USA) in 2011, and ISCP (International Studio & Curatorial Program) (New York, USA) in 2009. Major collections include Sigg Collection (Swiss), Arario Museum (Korea) and Seoul Museum of Art (Seoul, Korea).

Darren Bader (b. 1978, Bridgeport, CT) studied filmmaking and art history at NYU (BFA, 2000). He lives and works in New York and in transit. Bader’s conceptual hobbyhorses include: word works, pairings, impossible sculpture, misattribution, object fetishism, and trash sculptures. His exhibitions are often collaborative in nature, exploring and questioning the interconnectedness of seemingly disparate objects through complex (re)arrangements, surprise juxtapositions, and absurd associations. Institutional solo exhibitions include fruits, vegetables; fruit and vegetable salad, Whitney Museum of American Art, New York, NY (2020); (@mined_oud), Madre, Naples, Italy (2017–18); Meaning and Difference, The Power Station, Dallas, TX (2017); chess: relatives, High Line Art, New York, NY (2017); light (and) regret, Kölnischer Kunstverein, Cologne, Germany (2015); Where Is a Bicycle’s Vagina (and Other Inquiries), or Around the Samovar, 1857, Oslo, Norway (2012); and Images, MoMA PS1, New York, NY (2012). Awarded the Calder Prize in 2013, Bader has taken part in numerous group exhibitions and biennials including Apparition, PHI Center, Montreal, Canada (2021); Mirage: Contemporary Art in Augmented Reality, UCCA Center for Contemporary Art, Beijing, China (2020); the 58th Venice Biennale, Venice, Italy (2019); Stories of Almost Everyone, Hammer Museum, Los Angeles, CA (2018); .com/.cn, K11 Art Foundation Pop-up Space, Hong Kong, China (2017); One, No One and One Hundred Thousand, Kunsthalle Wien, Vienna, Austria (2016); 13éme Biennale de Lyon: La vie moderne, Lyon, France (2015); Under the Clouds: From Paranoia to the Digital Sublime, Serralves Museum of Contemporary Art, Porto, Portugal (2015); The Whitney Biennial, Whitney Museum of American Art, New York, NY (2014); Antigrazioso, Palais de Tokyo, Paris, France (2013); Empire State, Palazzo delle Esposizioni, Rome, Italy (2013); Greater New York, MoMA PS1, New York, NY (2010); and To Illustrate and Multiply: An Open Book, Museum of Contemporary Art, Los Angeles, CA  (2008).

AhHyeon Lee materializes the unreal world created from the perspective of insects into physical space. After receiving her bachelor's degree in Painting from Kyung Hee University, she continued a master's degree in Painting at a graduate institution. She has communicated with the public through her works with shifting gaze and dreamlike colours that transcend the two-dimensional and three-dimensional since her graduation. The artist began her work by considering the invisible or unrecognized vision in today's visual environment and raises the issue of the incompleteness of 'seeing' as we perceive its contents. She eliminates the human subject and creates a symbolic representation of the insect's gaze through painting, crossing the tension that results from the world of insects being repeatedly created and destroyed by others, as well as the feelings of disgust and dread of insects from a human perspective. In her investigation of insect traces, she examined and experimented with the physical characteristics of mediums and invited viewers to enter an imaginary environment.

Tingky is an artist who pays attention to the various 'emotions' felt in everyday episodes. Most of the things she experiences are caused by emotions and desires such as joy, sorrow, love, hate and anger. And emotions constitute the landscape of her mental and social life. She believes that emotions are the energy to preserve her existence, and that bad and passive emotions can be overcome through stronger, more joyful and active emotions.
Based on the philosophy of emotion, Tingky created a unique character, 'Kaekumi', with unique and playful humor and wit. Kaekumi dreams of happiness, hope and freedom in a finite and absurd life. It is a symbol of freedom to decide and act on its own feelings and desires. And as an active being in life, it is sometimes even heroic. Tingky reveals a different side of the world that could not be known through Reason, through Kaekumi and the magical powers of emotions. Influenced by the colors and utopian worldview of American and Japanese animations in the 2000s, she delightfully portrays that utopia is something that can be found in practical life.

Boonhlue Yangsouy has created exquisitely aesthetic and individual arts. He has participated many group and solo exhibitions. “Behavior = Identity” 2015, “Lady and Chandelier” 2017, “Love Is” 2019, “The Spirit of Six” 2019 and international stages including Art Expo Malaysia Plus 2017, Art Central Hong Kong 2019, Art Expo Malaysia 2019, Art Fair Philippines 2020, ART CENTRAL 2023 , ART CENTRAL 2024 and Art Busan 2023.


Jung Kwang Ho, who aims to weave between painting and sculpture, desires to explore the essence and interpretation of sculpture in particular. A sculpture is a tangible representation of an image manifested by the sculptor using materials, techniques, and tools to create a specific object in a particular way. Jung oxymoronically refers to his works as "non-sculptural sculptures," as he works with non-sculptural properties to create essentially sculptural works. The paradoxical expression is part of how he explores the essence of sculpture. The artist made no distinction between inside and outside, instead exposing the surface and penetrating through to suggest that surfaces are merely the superficial layer of sculptural essence and the surface of reality.
Jung presented solo exhibitions in various museums worldwide, including the Stedelijk Museum in Amsterdam, Art Sonje Museum in Gyeongju, Kumho Art Museum in Seoul, Gallery Thomas in Munich, Lumen Gallery in Paris, and Canvas International Art Gallery in Amsterdam. He also participated in significant group exhibitions at institutions such as the Seoul Museum of Art, Samsung Museum of Art Leeum, Singapore Art Museum, and Gyeonggi Museum of Art. His works are held in various collections, including the National Museum of Modern and Contemporary Art, Daejeon Museum of Art, Hanlim Museum of Art, Sonje Museum of Contemporary Art, and Ho-Am Art Museum.


Praiva Raiva is a contemporary artist renowned for his evocative and thought-provoking works that explore themes of identity, emotion, and social challenges. His art masterfully blends traditional techniques with modern aesthetics, creating captivating pieces that resonate deeply with audiences worldwide. Drawing inspiration from personal experiences and diverse cultures, Praiva’s work invites viewers to delve into intricate narratives and self-reflection. His exhibitions have garnered critical acclaim, establishing him as a significant and influential figure in the contemporary art world.

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. 

Hyuck Jin Oh (b.1997) is a rising Korean artist whose work delves into the emotional complexity of the human experience. His distinctive approach to mixed media combines different materials with traditional pigments, creating textured, layered compositions that convey the emotional depth and warmth of life’s spectrum. Oh's art explores themes of healing, transformation, and inner balance, reflecting both the turmoil and tranquility that shape the human condition. Through his work, he captures moments of emotional struggle while offering a sense of peace—emphasizing that even in times of hardship, there is potential for personal growth and renewal.

In addition to his fine art practice, Oh actively collaborates with the music and media industries, contributing his visual work to album covers, films, and dramas. This interdisciplinary approach expands his creative reach, deepening his exploration of emotional landscapes. His exhibition in Bangkok marked an important step in his growing international presence, further establishing his unique voice in the global art scene. Through his art, Oh invites viewers to reflect on their own emotional journeys, offering a message of hope and transformation—that by confronting and overcoming adversity, one can make positive memories shine even brighter.

Sungju Ham discovers a formal language from close and familiar images and conducts experimental work on the canvas, varying the frames of the images. He focuses on the boundaries of experiencing the unknown by translating images viewed through phone screens and computer monitors, and then transferring them to canvas. The work process involves capturing the reference image in its liquid crystal state, then translating the image through the camera, followed by the painting process. 

Mona Lee is an artist who uses her paintings to capture memorable experiences and feelings she encounters daily. She has interacted with the public through her work since graduating with an MA in Painting from Central Saint Martins after studying Painting at the Chelsea College of Art in London. Her work usually uses brown colours reminiscent of vintage black-and-white photos, reflecting the artist's themes of nostalgia and recollection. Her soft, lyrical paintings evoke universal memories that are ingrained in all of us and serve as a sensory tool to generate empathy. For example, she believes that her paintings, recalling the jazz and classical music she listened to in the 1990s, would allow busy people to relax while appreciating them.

Georg Baselitz has had a profound influence on international art since 1980 and is indisputably one of the most important artists of our time. He shaped a new identity for German art in the second half of the 20th century; in reaction to the trauma and tragedy of the Second World War, he developed an artistic vocabulary which draws on the work of his forebears, whilst remaining unique and wholly individual. Since then, Baselitz has consistently renewed his practice through formal developments, often responding to art history and his own extensive oeuvre to develop his central themes through an ever-evolving, yet distinct, mode of artistic expression.

The artist has been painting his compositions upside down since 1969. For Baselitz, this novel format was a way of emptying form of its content, navigating between abstraction and figuration, and revolutionising a medium that was then regarded as irredeemably conventional. His directly tactile method of painting with his fingers in the 1970s encouraged a freer use of colour and material that would come to the fore in his expressionist colour fields of the 1980s. This was a seminal decade for the artist, opening with his selection to represent Germany at the 1980 Venice Biennale alongside Anselm Kiefer, which marked his first foray into sculpture.

The artist expresses what is difficult to put into words through drawings and writings. Her work is particularly inspired by the light of spring and summer, as well as books. Books, to her, are more than mere reading materials—they are both physical and intellectual mediums with a unique allure. Clear and tangible in hand, yet boundless in depth, books share a striking resemblance to paintings, a connection the artist continuously explores.
When faced with overwhelming moments or passing waves of solitude, she often finds solace in libraries and bookstores. In these spaces, where the energy of those who create books and those who seek them converges, the act of flipping through pages amidst unfamiliar crowds brings a quiet sense of comfort. Sometimes, without intention, she stumbles upon a sentence that feels as if it was meant just for her, experiencing a fleeting yet profound resonance. These moments are not grand revelations or life-altering epiphanies, but rather subtle, transient impressions—precisely because they are so brief and delicate, she seeks to hold onto them. Through light, color, and form, she translates these experiences into her art, inviting viewers to share in her quiet yet deeply felt reflections.

Hyundoo Jung gathers subjective conversational language by accumulating brushworks that show the physicality of the senses that arise from the inside. After graduating from the Department of Painting at Hongik University, the artist earned a master’s degree in the Department of Fine Arts at the Seoul National University of Science & Technology and was a resident artist at the Gyeonggi Creation Centre. His paintings reflect the trajectory and substance of the human body, while also being hospitable and evoking a distinct feeling. He repeats the process of his works by reacting intuitively to the colours and images formed by the improvisational movement and the state and concentration of the paint application on the canvas. The image of the stacked layers on the screen exposes a spectrum of colours and the artist’s sensual judgement. Hyundoo Jung also gradually makes the chroma heavier while adding a sense of density of colour. He treats the entire screen of his painitngs as a result of complete abstraction and sensation, as if it were directed from the surface to another kind of space. 

Born 1983 in Hyogo Lives and works in Osaka
Started painting on his own after being inspired by the 2004 Gutai retrospective exhibition at the Hyogo Prefectural Museum of Art.

Weedong Yoon (b. 1982), an artist based in Korea, explores the cyclical nature of existence through hyper-realistic paintings. His work reflects themes of growth, struggle, and transformation, often using stones and sand as metaphors for renewal and completion. In his Monologue Series, Yoon portrays the journey of a stone passing over sand—its rough, intense moments symbolizing life's challenges, while the smooth, settled sand represents the serenity of life's fruition. This series encourages viewers to reflect on their own resilience and beauty, despite external struggles, and underscores the transformative power of time.

In addition to the Monologue Series, Yoon's works featuring birds further explore themes of harmony and balance. These birds symbolize connection, transcendence, and the unseen forces that sustain the natural world. They embody the delicate equilibrium between opposing forces—East and West, abstract and concrete—and highlight the importance of quiet actions in maintaining the world’s cycles. Together, these works prompt deeper contemplation of life’s interconnected processes.

Yoon’s art is rooted in the belief that all things ultimately return to nature. His recent participation in the “Find the Nature” exhibition at Objecthood Gallery reinforces this idea, emphasizing the link between the natural world and human-made creations. With a keen eye for detail, Yoon’s paintings invite introspection, offering viewers a space to reflect on the cycles that shape both the world and our lives.

A Walk

In the Woods

the Temple of Doom no.2

Hiroshi Sugimoto, Revue N° 1

PPTRD 040, limited edition including original artwork

PPTRD 005, limited edition including original artwork

Back 1/4

Back 7/8

The Three Shades

Two Days

By This River

Back 1/4-drawing 3

My Little Sun

Back 1/4-drawing 4

Calder in France, limited edition including original artwork

Standing at attention to everything

Approaching rubbing sound

World without fantasy

A thing that disappears suddenly and appears again

Living in an exposed place

We must see a rainbow!

Shouting in silence

A proper position of an early afternoon

Calming scenery

Morning has dawned

Cave in a cave

We are repeating this situation

A proper position of a late morning

Passing through the silent air

Pretty soft exterior

A peaceful land

Looks like the wilds, but it is the core

Area that Is Not Invaded

Loud as It was a Lie

Fusion

มนุษย์คู่แรก no. 2

Me and another me no.1

Weeding party no.1

มนุษยคู่แรก no. 3

Apple and the Murder1

The Flower 21100

The Pot 24130

Untitled

Untitled (partition)

Landscape 5

Untitled (a bundle of asparagus)

Untitled (rituals)

Driver

Yellow eyed cat

The man with the surfboard picture

So many holes

Midnight Cafeteria

Island

Letting go

Blossom Perch

Hug of the Forest

Blooming

A dark but bright day

Nonstop

Room No.405

Inner Child

Room Flower

Fleeting Light, Endless Hope

Together

Resting Place

A pond at Night

Room No.401

Flower

Room No.410

Natural heart

Silent Wishes

Standing Alone

At the park at 2am

Step toward the Light

Morning

Rest

For a Cozy Shadow

Fly with the birds

Blooming from the calm

The Garden Within Me

Slowly, like the seasons

Longing in Reflection

Heads Bowed in Thought

Forever

Accidental romance

Condolence

suit

Y2k Aesthetic Lolita Style Bow Dress Shorts Set Japanese Women Gothic Lace Flare Sleeve Button Shirt Dress Punk Party Mini Dress

Mugler 1990

Gianni versace fall 1

Spring Mugler 2

Rubber rainwear 3

Suit

Rubber rainwear 2

Mugler spring 3

Wheel

Tour 01

He Divide Us

Crash james

Mugler 3

Crash

Reiko Nagase

Aethetic vibes

christine dale

luciana

Tour 02

Waterfall on my Palms

Between You and Me

A Little Boy Blows Soap Bubbles

We Are such Stuff as Dreams Are Made on

Mornings by the River

My Cozy Hazelnut Sweater

There I Stood

Leah, Enjoying Cold Water

Swimming Pool

Night Night!

A Walk in the Pouring Summer Rain

Big Pot of English Lavenders and Bees

Writing in Blue Ink

Salmon Avocado Salad

A Bunch of Mauve Tulips Remind Me of the Days in London

Georg Baselitz

Books

A Gap in the Daylight

At the Edge of Sight

19.06.27-20.02.19

오른쪽으로-얼굴을 던지는 사람 1

Face of the Sun and Moon

돌머리

19.08.10-12.19

토끼잡는 사람

Forest and Body_Mass

빛나는 얼굴

왼쪽으로-얼굴을 던지는 사람 1

얼굴로 그린 그림5

얼굴로 그린 그림 1

20.08.21-08.30

19.10.30-20.01.02

2018-19.12.06

새나무

20.10.22-21.02.03

19.10.30-12.19

풍경

반짝 반짝

얼굴로 그린 그림 2

Birds, Trees, and

A Paradoxical Talk 1-2 

Sho 30

Sho 21

Sho 24

Monologue 795

Monologue 816

Monologue 828

Monologue 727

Monologue 2

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