based in Chiba. The theme of the complex emotions and instability of young people is expressed through their hesitation and frustration as their humanity. Kimura believes that emotions, which can be seen as negative, sometimes cause people pain, but at the same time give them a sense of being alive. LOST BOYS, one of his best-known works, depicts just such moments.

Pierre Paulin, born in 1927, originally trained as a sculptor but shifted to design after injuring his right arm. His iconic designs for Artifort in the 1960s, including the Mushroom Chair and Ribbon Chair, showcased his innovative use of materials and clean lines. Influenced by German design principles and early modernists like George Nelson and Charles Eames, Paulin also emphasized the social aspect of modern design. His work adorned prestigious spaces like the Élysée Palace and the Louvre Museum's Denon Wing. Posthumously awarded the title of "Royal Designer for Industry," his designs remain timeless icons of 20th-century design, epitomizing the essence of Brutalism.

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.

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.

Yerang Hwang depicts the contradiction and compassion of the familiar world. After receiving a master's degree in Korean painting from Sejong University, she broke down the boundary between western and oriental paintings, and reinterpreted oriental artworks from her own perspective. Concerned with the categories and medium of Korean painting, the artist experiments with several display approaches. Through the appearance of contradictory materials, visitors are prompted to consider the two opposing feelings, and the artist's vision of the world is depicted through the capture of everyday life. 

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.

Sung Neung Kyung (b. 1944-) is a prominent Korean conceptual artist whose works embracing nontraditional mediums such as newspaper, photography, and performance broke the ground for experimental art in Korea. Sung debuted in Korea’s art scene in 1973 as a member of the avant-garde art group ST. Until the late 1980s, he showcased newspaper-related installations and performances challenging government censorship of the media and the press’ misuse of editorial power. Also, he was among the first artists in Korea to use photography in the context of fine art in the 1970s. 

Sung Neung Kyung’s daily practice of art has escaped critical notice, yet like the mosquito he has been active for much longer and his influence is felt more widely than many realize. Sung’s conceptual actions, documented through photographs and performance artifacts, reflect his decades-long interest in everyday moments of exchange between people in a social context. The exhibition “Contraction / Expansion” reflects the artist’s ongoing interest in daily actions that become iconic when isolated within the context of the art work. “Contraction is what the people in power wanted and expansion is what the people under control wanted,” Sung explains. These small gestures create a “mosquito noise” by activating everyday elements of behavior into a resonant, politically charged buzz. 

It expresses the emotions of love and longing—too profound to be fully captured by language—through a fusion of visual and auditory art.

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.

Tom Howse uses humour to explore the balance between realism, fantasy and our desire to know and our inability to comprehend. The artist reconstructs the hierarchy of living things and invites the unstable reality into the comfortable setting of a personal living room.

Winter Gyeoul Kim graduated from B.F.A. Fine Arts, School of Visual Art(New York, USA) and received her M.F.A. in the Department of Fine Arts at the Korean National University of Arts. In 2018, she held her first solo exhibition Herts at Weekend, and the second solo exhibition As if Singing at Your Own Pace(PS Sarubia, Seoul) was held in 2022. She has participated in several group exhibitions including Memory Beneath the Ego, Fantasy Above The Ego(2023, Seoul National University Museum of Art, Seoul), Only Indelible Good Left(2023, SPACE SO, Seoul), Landscape and Abstraction(2022, Kyobo Art Space, Seoul), I, Etcetera(2020, Hite Collection, Seoul), and One seeing this also thinks that(2019, Artspace 3, Seoul). She has participated in DOOSAN Gallery International Residency - ISCP(2024, New York) and The 14th Resident Artists programme at Seoul Art Space Geumcheon(2023, Seoul).

KANG Cheolgyu (b.1990) depicts narratives of a fictional world with a realistic touch. The mysterious otherworld within his canvas is a landscape that metaphorically projects his own reality. People and animals in exotic nature, symbolic events, each are closely related to his emotions and psyche. The black sphere that appears in Enemy (2023) represents a physical manifestation of complex emotions that are difficult to handle, such as anxiety, compulsion, expectation, delusion, disappointment, and depression. The artist's reality is sometimes perceived as overwhelmingly helpless, like the Big One (2023), which remains unflinching even when struck by a decisive spear. In Hunting Diary (2023), a figure who prepares raw meat from the wild for survival is depicted as an incompletely segmented body or self-divided into several people.




KANG Cheolgyu was born in Gimcheon, Korea in 1990. He received his BFA in Painting and MFA in Fine Arts from Hannam University. He has held solo exhibitions at Chapter II (Seoul, Korea, 2022), M2 Project-room at Lee Ungno Museum (Daejeon, Korea, 2021), Artist Residency TEMI (Daejeon, Korea, 2020), Gallery Gabi (Seoul, Korea, 2017) and more. He has participated in group exhibitions at ARARIO GALLERY SEOUL (Seoul, Korea, 2024), Doonamjae Art Center (Seoul, Korea, 2023), Gallery Baton (Seoul, Korea, 2022), Daejeon Museum of Art (Daejeon, Korea, 2021; 2018), Galley Gabi (Seoul, Korea, 2017), Gallery Gwang, Sejong Center (Seoul, Korea, 2015) and more. He was the artist-in-residence at the Artist Residency TEMI (Daejeon, Korea) in 2020 and the Studio White Block (Cheonan, Korea) in 2023. His works are collected by institutions such as Seoul Museum of Art, National Museum of Modern and Contemporary Art’s Art Bank, Daejeon Museum of Art.

JHU’s works confront the fragility and mutability of form, employing organic and fluid mediums to create abstract narratives that resonate with existential vulnerability. Through his pieces, he reflects on the impermanence of the human condition, inviting viewers to consider the moments when identity feels unfamiliar and fragmented.

ThankYouX is inspired by the pop tropes and bright colors of the NYC graffiti scene as well as tech innovation. He started his works from LA street stencils to paintings and sculpture exhibitions in London, LA, Miami, NYC and Hong Kong. Now using his street style in a more unique way, he has gained world wide attention for his geometric cube paintings and large scale abstract works. In 2020, he made the leap into the NFT space and now ThankYouX is bringing the physical and digital worlds together to make a unique collection of original paintings and NFTs.

Born in a time when colonisation and political suppression were overwhelming South Korea, Chun Kwang Young went to the US to study at the Philadelphia College of Art in 1968. Chun never adapted to the art scene or lifestyle of the US, however, for it to have emphasised too intensely capitalism and self-expressiveness. Returning to Seoul, he began experimenting with Korean mulberry paper – a material he was familiar with during childhood – to craft large, free-standing sculptures.
 
Aggregation, as Chun’s hallmark series, manifests as sculptures reminiscent of rock formations or monumental crystallisations of minerals. And to create these different shapes and dynamics, Chun would twist, fold, and corrugate countless reused mulberry paper torn from Korean books before wrapping them over polystyrene, giving each of the uniqueness and individuality of his creations – as if becoming metamorphic, living organisms. The medium of paper, after being exploited by mankind, is hence able to return to its natural embrace at long last under the artist’s hands, once again reimbued with vitality. Chun is also mindful of the texts and characters printed on these sheets of mulberry paper. In his approach of tearing and reshaping, what is thus created is an analogy about the destruction of the past and subsequent rebirth of the new. Such a perspective mediates not just artistically as the conscious challenge of traditional genres and methodologies, but also socially in the greater scale to convey the fluidity of semiotics – where meanings of words and language can fade and transform swiftly.
​
Chun Kwang Young’s recent important exhibitions include: “Chun Kwang Young: Times Reimagined” at BIENNALE ARTE (Venice, 2022); solo exhibition at Moscow Museum of Modern Art (Russia, 2022); solo exhibition at Museum Ground (Korea, 2021);“Chun Kwang Young: Full Spectrum”, Sundaram Tagore Gallery (Singapore, 2020); “Special Exhibition: Moment of Giyeok”, Hagaram Art Museum (Korea, 2020); “Kwang Young Chun: Aggregations”, Jordan Schnitzer Museum of Art (USA, 2020); “Sensitive Structure”,  Beck & Eggeling International Fine Art (Düsseldorf, 2019); and “Aggregation” , Sundaram Tagore Gallery (New York, 2018).
​
Chun Kwang Young’s works are collected worldwide including British Museum; M+, Hong Kong; United Nations Headquarters, US; Yale University Art Gallery, US; National Gallery of Australia; Victoria and Albert Museum, UK; National Museum of Modern and Contemporary Art, Korea; Seoul Museum of Art, Korea; How Art Museum, China and more.

Haeun Hong has continued to record, analyse, and decompose colours, images, techniques as materials, the body's movement to paint, and the materiality of the outcomes. She received a bachelor's degree in Fine Arts from Hongik University, a master's degree in Fine Arts from the same graduate institution. For her, who found great delight in discovering immersion and beauty when observing nature and transitioning it to paintings, life is described as a perpetual process of discovering its beauty. As an artist, she sees her fate as collecting shapes and colours and transforming them into paintings. She wishes to cover the manner in which contemporary people consume and generate images, as well as the materialisation of screen images through the body. Haeun Hong expresses the materiality of painting that the artist examines through the process of drawing on paper, cutting it, and placing it with scissors, which is a distinctive method of artistic production. 

Sangyong Lee is an artist who actively exhibits in both Korea and New York. He has held 16 solo exhibitions, starting with his debut in Korea, and continuing with shows at Tenri Gallery in New York, Waterfall Gallery in New York, BK Gallery in Seoul, and Gallery Jeon in Daegu in 2022. Additionally, he has participated in over 200 group exhibitions and art fairs, primarily on the international stage.

Viriya Chotpanyavisut graduated with a Master’s degree with mention from Ecole Nationale Supérieure d’Arts Paris-Cergy in 2011. Before that Bachelor’s degree with congratulation in Visual Arts at L’Ecole supérieure de beaux-arts de Toulouse 2009 and earned Bachelor’s degree fine art photography at the Rangsit University in Bangkok 2004. Viriya is an artist whose photographic work is characterized by his ability to capture fleeting environments and imbue everyday objects with a poetic and immaterial dimension. In his photography and video, memory becomes a complex concept that goes beyond individual perspectives. Viriya’s work delves into intricate details often overlooked, presenting a silent and isolated world that encourages viewers to explore beneath the surface, fostering emotional reflection over explicit facts. He was involved in numerous international group exhibitions including: Fond d’art contemporain de Paris, France (2023), FRAC Auvergne, France (2017-2022), Silpabhirasri Creativity 19. Art centre Silpakorn University, Bangkok, Thailand (2022), Parc st leger Centre d’art contemporain, Paris (2020), Temporal Topography, MAIIAM Contemporary Art Museum, Chiang Mai, (2019), 38th Eva international, Ireland biennale (2018), Rendez-Vous 11, L’Institut d’Art Contemporain de Villeurbanne, France (2011).
Viriya has exhibited in solo shows at the Gallery N/A, Seoul, South Korea. (2022), Galerie de Multiple, Paris France (2020, 2014 & 2012), Ver Gallery, Bangkok, Thailand (2020). He is represented by the Galerie de Multiples, Paris, France & Ver Gallery, Bangkok, Thailand.

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.

Arin Rungjang is known for deftly revisiting historical material, overlapping major and minor narratives across multiple times, places, and languages.

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