A key member of first Dada and then Surrealism in Europe in the 1910s and 1920s, Max Ernst used a variety of mediums—painting, collage, printmaking, sculpture, and various unconventional drawing methods—to give visual form to both personal memory and collective myth. By combining illusionistic technique with a cut-and-paste logic, he made the incredible believable, expressing disjunctions of the mind and shocks of societal upheavals with unsettling clarity.

Sunday B. Morning is an artistic enigma: a replicator of the 20th century’s most famous replicator. Once an authorized distributor of Andy Warhol prints, the company had its legality questioned after the artist had a change of heart, and its legitimacy as a producer of authentic prints has grown murky. The project began as a collaboration between Warhol and two anonymous friends in Belgium whom the artist contracted to make new editions of some of his most famous artworks—including his famed “Marilyn,” “Flowers,” and “Campbell’s Soup Cans” series—using negatives he gave them himself. Sunday B. Morning continued to make editions of Warhol’s iconic works after the split, in some ways continuing Warhol’s inquiries into image, iconography, reproduction, and ownership. Sunday B. Morning is now a well-known purveyor of prints including the aforementioned works as well as “Mao” and “Dollar” series.

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. 

Jeongwoong Lee(b.1982) who constructs a fantasy narrative with obscure multilayered symbols and conducts realistic painting works, graduated from the School of Arts at Sungkyunkwan University, with a B.F.A. Main exhibitions include Close Encounters (CHAMBER 1965, Seoul), Notwithstanding (Obscura, Seoul), Moscow/Seoul Common Idea (Museum of Moscow, Moscow, 2021), P hung a picture (D/P, Seoul, 2021), Shaack (Obscura Gallery, Seoul, 2021), Laputa, The Fall (Pontone Gallery, London, 2018), Laputa (Shineartists Gallery, London, 2015), Young Korean Painters (Shineartists Gallery, London, 2014), Dream Awakening (Gallery 16th, Seoul, 2012), Two-Windows vol.2 (Gallery Hyundai, Seoul, 2010), Window Gallery (Gallery Hyundai, Seoul, 2009), Reverie (Art Space Hue, Seoul, 2009), among others. Lee has also participated in numerous international art fairs, such as HK Art Fair in Hong Kong, Art Stage Singapore, London Art Fair, The Preview in Seoul, and Daegu Art.

Jiyoon Jeong - has held group and solo exhibitions in the UK and Hong Kong.  She has a strong domestic fanbase and is an emerging artist with a lot of potential for future success.


Chetsada Phuwiang employs the innovative mediums of sand and airbrush painting, creating vibrant abstractions of haptic experience. Through images of fleeting physicality, his works engage with dialogues around queer sensuality and sexuality. He explores the tensions surrounding intimacy and belonging, dissolving the boundaries between bodies and bodies in space.

Johannes Nagel studied ceramics at the University of Art and Design Burg Giebichenstein, Halle, Germany. Deliberately questioning the widely accepted status of pottery as a functional, domestic and decorative craft, Nagel turns to clay as the privileged arena for his formal and conceptual explorations, rehearsing, through an eclectic array of vessels, the timeless debate of form vs. function, control vs. spontaneity, rigour vs. improvisation. 

Kongpop Benjanirat (1996) graduated with a bachelor's degree, first class honors and Master's degree from Silpakorn University. Presents with his oil paintings that show the artist's unique Western aesthetic style.
He has continuously participated in exhibitions both in Thailand and internationally, such as Art Busan 2023 (Korea), Hotel Art Fair 2024 (Bangkok). Also, solo exhibitions "The Oblivion" (2022), "Phantasia" (2024).

Wannita Tankeng
b.1999, Phuket, Thailand

Wannita Tankeng graduated with her Bachelor of Arts degree from King Mongkut's Institute of Technology Ladkrabang and with her Master of Arts degree from the Faculty of Painting, Sculpture and Graphic Arts, at Silpakorn University.
Wannita is interested in exploring how lights and colors are reflected through objects - inspiring her to create semi-abstract paintings.  The artist is fascinated by the allure of shiny surfaces and recognized for her ability to capture the luminous qualities of objects, encouraging us to think about how light and shadows interact around us. Capturing the essence of objects through attention to detail and her brushwork, she transforms recognizable objects into abstract renderings, highlighting the simplicity and natural beauty of ordinary elements and moments surrounding us.

Seong Hee Huh(b.1984) expresses the aesthetics of Korea through the pictorial verification of our cultural heritage. Recently gaining much attention for her "Inkstone(Yeonjuk)" series, she presents paintings that capture the beauty of Joseon white porcelain. She uses cultural artifacts from various museums in Korea and abroad as her subjects, with her works held in collections such as IBK and Shinhan Card. Currently, she also serves as a senior researcher at the Seoul National University Art Conservation Research Center, combining her artistic practice with cultural heritage research.

Tum Ulit or Natakorn Ulit (ฺBorn in 1992) is an artist, cartoonist, and storyteller enamored with the world of cartoons since childhood. He completed his undergraduate studies in Animation Production at Mahidol University International College (MUIC). His passion for cartooning stems from a profound need to articulate and navigate through deep-seated pain and sorrow nestled within his soul. Through the art of cartooning, Tum discovered a transformative medium, allowing him to explore his innermost self and the intricate nuances of his emotional journey. 

Tum Ulit first gained recognition among readers through his webcomic series featured on his page “Tum Ulit”. What distinguishes him is his ability to narrate stories through visuals alone, reaching deep into the emotions and touching the souls of readers from diverse backgrounds and languages worldwide. This unique approach has inspired him to continuously create works that resonate as ambassadors of people’s emotions. Tum Ulit hopes above all that his creations spark profound reflections and become symbols of apologies, remembrance, or lingering sentiments in people’s hearts. Presently, his page boasts a global following of over 1.7 million individuals. 

In 2022, Tum Ulit made his debut in the art scene with the group exhibition “Shall I Compare Thee to a Summer’s Day?”, followed by “To the Moon and (Never) Back” in 2023 and his first solo exhibition, “Who’s Cutting Onions?” (2024) which all held at River City Bangkok. These showcases, especially his solo exhibition, captured the attention of collectors and enthusiasts alike, both locally and internationally. 


Born in Schwerte, Germany, in 1952, she studied at the Werkkunstschule in Cologne and became one of the first artists to exhibit at the Monika Sprüth Gallery, well-known for presenting only female artists. She is a professor at the Kunstakademie Düsseldorf, in Nordrhein-Westfalen. Trockel’s early works include the series Knitted Paintings (1985), created using machine-knitted fabrics stretched over canvases. In these woolen canvases, Trockel depicts generic computer-generated imagery and, in some cases, particular historical iconography such as a Soviet worker with a hammer and sickle.
The artist continues to work in a wide variety of media and genres, including the creation of living sculptures from garden elements as in Less Sauvages than Others (2006). Rosemarie Trockel has received numerous awards, including the Wolf Prize in Arts in 2011 and the Roswitha Haftmann Prize in 2014. She has exhibited extensively worldwide: in 2012 her work was presented at the New Museum in New York in a retrospective organized by the Reina Sofia in Madrid, that traveled to the Serpentine Gallery in London the following year. In 2018, the Moderna Museet in Stockholm mounted a solo show of her work. Trockel is the first woman to represent Germany in its national pavilion at the 1999 Venice Biennale, and continues to exhibit internationally.

Zhu Jinshi, born in 1954, is a pioneer of Chinese abstract art and installation art. He began to create abstract paintings in the early 1980s and moved to Berlin in 1986. Since then, he has been experimenting with performance, installation, and conceptual art. In 1994, Zhu returned to
China, dividing his time between Berlin and Beijing until 2010. At present, he lives and works in Beijing.
Looking back at Zhu Jinshi’s art practice over the past forty years, abstract painting and conceptual installation are two practices that parallel each other while sometimes being confrontational. Zhu started his career with abstract painting, but while his installation practice stands alone from his
painting practice, it has also inspired new forms of painting. Only when the two are viewed together can the striking aesthetic value of Zhu’s works be touched.
Zhu Jinshi’s paintings were first influenced by modernism. Three of his works were exhibited in China’s first avant-garde exhibition, the Stars Group Exhibition, in 1979. As one of the first Chinese artists to create abstract art, Zhu initially experimented with random brushstrokes and
limited colour to create abstract paintings. He gradually developed his unique “thick painting” style that he still uses today, which is usually applied with heavy colour and thick paint.

Gus Monday (b. 2000) studied a Foundation in Art & Design at the City & Guilds of London Art School in 2019, and currently studying painting for a master’s degree at Royal College of Art (RCA) in London. He grew up within a Southern African context and he thinks that to large an extent it shaped the way that he is socially and culturally aware, especially moving between a developing nation and this 1st world country. His works are representations of spaces utilising coded narratives and symbols, some observational whilst others autobiographical. He is working with beyond the realm of the personal, toward spaces with more social significance.
In addition, several group exhibitions are planned for 2024 in several countries, including Korea, the UK and Spain.

Alum Lee uses patterns commonly found in the fashion industry, such as dots, stripes, and checks, to move between flatness and illusion, distorting the screen, and revealing flatness through pictorial traces. Through this, she evokes latent data about space, deconstructing and recombining them once again, overlapping layers to produce complex processes of work.

Mit Jai Inn (1960, Chiang Mai) is a widely respected senior Thai artist. He studied at Silpakorn University, Bangkok (1982-1986) and Academy of Arts, Vienna (1987-1992). He is a co-founder of the Chiang Mai Social Installation Project (1992 – ) and engaged with The Land. Jai Inn’s recent exhibitions include Medium at Large, Singapore Art Museum (2014), Postpositive: Freaky You Are Always, SA SA BASSAC, Phnom Penh (2013), Untitled, H Gallery, Chiang Mai (2013), All Our Relations, 18th Biennale of Sydney, Australia (2012), Museum Serve Project, Bangkok Art and Cultural Center, Bangkok, Thailand (2011).

MANE's work presents a story that evokes childhood experiences. However, the artist imbues it with dreamlike qualities that render it unrealistic and obscure. Characters and objects from the artist's real-life memories appear in the composition but are rearranged to create a new narrative that is both recognizable and unfamiliar.

Memories can be ambiguous, much like a dream. However, happy memories often end with our mother's voice, which is softly muted in the background. And, there were books in the past that seemed taller than our height. The weighty tomes imparted unfamiliar tales, ones that compelled us to stay up late and read. 

–From MANE’s note

Mr Doodle began to garner recognition in the art world in 2017 and has since seen a meteoric rise in interest in his work. He stands at the forefront of a new art wave, taking the online art community by storm with a mass social media following. Truly a millennial artist, his works provoke discourse on what we consider fine art today.
Mr Doodle’s works transcend beyond the canvas, invading furniture, big surfaces, clothing, and more. Like other artists of his generation, he also explored a number of collaborations with iconic brands, including Fendi, Puma, Samsung, Disney and MTV to begin with. But where Mr Doodle
separates himself is in his sense of purpose: a deep and obsessive compulsion to expand and share his vision of his DoodleLand. As a form of release or meditation, his process is fluid, therapeutic, unrestrained, and without hesitation, as if channeling directly from his world into ours with great stamina. He ultimately seeks to spread a sense of wonder, happiness, and love.

For Moonhee Cho, the series of photographic works are both a process and a result of pusing ‘resemble’. ‘Resemble’ creates a gap skimmed from reality, making one revisit the place glimpsed at first sight. The landscape that was once passed by reveals a dramatic presence in a form that was never reached, even in places that were numb, different from the afterimage left in the mind. Following the image in the landscape, she visualizes the conflict stemming from ‘resemblance’.

Kim Doyeon (b.1992) centers her work on how personal experiences are shared, aiming to evoke a sense of coexistence that includes even invisible elements of life through both individual narratives and broader dialogues with all living beings. She has created a series of drawings in response to letters received from exhibition viewers and has organized two-person exhibitions through exchanges with artists who share similar bodily experiences. Kim primarily works with finely detailed oil paintings and prints, employing a meticulous, persistent drawing technique that incorporates her own stories and gestures, expanding the possibilities for communication.

Kim earned her B.F.A. in Contemporary Art from Konkuk University, Seoul, KR, and her M.F.A. in Fine Arts from Seoul National University of Science and Technology. Her solo exhibitions include From, Kim Doyeon, EveryArt, Seoul (2022); CRR, Space Illy, Seoul (2021); Don’t Engage with Snowflake, AlterSide, Seoul (2021); and A Dog, A Bird, A Pot, Uhjjuhdah Gallery 2, Seoul (2019). She has also participated in group exhibitions, such as Mountain–Halyang, Chamber 1965, Seoul (2023); A Story That Never Happened, Gallery Inn HQ, Seoul (2023); OOOOO, ooooon, Seoul (2022); Performativity as Painting, TINC, Seoul (2021); Now Let’s Break the Bed, Art Space Pool, Seoul (2019); and New Drawing Project, Yangju City Chang Ucchin Museum of Art, Yangju (2018).

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