Born in Tehran, Iran in 1972, Golnaz Fathi is an influential member of a currently thriving generation of artists to surface in Iran over the last twenty years.
Fathi investigated ever more abstract forms of representation, using modern media to aid these explorations, while still basing her work on fundamental calligraphic practices and techniques. The introduction of bold swatches of colour further emphasised her transition from a codified system based on prescriptive rules to an alternative idiom that gave precedence to her own imaginative modes of subjective expression.

Dong Hyuk Lee explores the spaces and objects that once reflected people’s beliefs and origins, but at some point were abandoned and have come to wither away. Lee imbues his experiences and memories onto various objects such as chairs, glasses, pianos, and crosses that have been left in ruins and paints landscapes and portraits that emerge from the stories he gathered on these objects. As such is his process, the space and objects he captures first reveal the artist’s beliefs and subjective rendering. On the other hand, Lee has experimented with and immersed himself in various compositional elements such as symbolic figures, signs, and colors in the pictorial dimension so that his work is not composed solely of the subjective. Continuing this artistic exploration, his recent works embody the act of “seeing” itself, which reflects the artist’s will to examine the multi-layered nuances of the operation of recognition and identification of the object’s significance within the methodology of painting.

Jo Jae, an artist based in Seoul, is fundamentally interested in the concept of "space" — a place created, inhabited, and sometimes demolished by humans. A space itself symbolizes the people who occupy it, and its inhabitants inevitably leave traces of themselves. These traces can become important clues, sparking intense curiosity. Driven by this curiosity, Jo Jae crafts stories with images based on these clues. Her work spans photography, installations, and even design, but she sees no difference between these acts. Photography, as the flat print of tangible objects, conveys an ethereal subject matter, allowing the relationship between images and stories to leave room for imagination. This is why photographic media currently remains her most preferred medium.
Jo Jae’s work begins in the virtual realm. Since 2020, she has been translating the intersection between digital images and their original counterparts into a sculptural form. By visualizing the gap between digital images and the unprocessed originals, she aims to establish a new sense that bridges the virtual and the real worlds.

The abstract paintings of Hyunjung Park show the process of a response to the new visual world we experience in the twenty-first century. The artist, who majored in Fine Art at Hongik University, has a long history of collecting images of minerals, geological formations, and textures. Since the attitude of collecting and consuming images online influences contemporary art, she is continuously asking concerns about the process of creating arts and she is using graphic technologies to construct the overall layer of her works. By using geometric colour schemes and disciplined brushstrokes, Hyunjung Park creates a new painting universe in which individual objects achieve a tight equilibrium through tension. 

Cildo Meireles creates complex installations and sculptures that entice the viewer and challenge political, philosophical, and aesthetic precepts. Meireles’s artistic practice was shaped by the social and political conditions during the dictatorship of Brazil in the 1960s and ‘70s, and by the Neo-Concretism and avant-garde movements. Like his predecessors, Meireles merges physical, cerebral, and sensorial elements in works that elicit audience participation.  While Meireles’s works are often created in response to specific political events and situations, they evoke universal themes that are communicated through the viewer’s experience in a shared, rigorously designed and defined space.
Meireles’s work has been exhibited internationally, including the Biennales of Venice, Italy (1976, 2003, 2005, 2009); São Paulo, Brazil (1981, 1989, 1998, 2010); Documenta, Germany (1992, 2002); and Istanbul, Turkey (2003, 2015). The artist has been the subject of several large-scale and traveling solo exhibitions at renowned institutions, including Sesc Pompeia, Sao Paulo, Brazil (2019); Centro Nacional de Arte Contemporaneo Cerrillos, Cerrillos, Chile (2019); Fundação de Serralves, Portugal (2014) HangarBicocca, Milan, Italy (2014); Museo Nacional Centro de Arte Reina Sofía, Spain (2013); Museu d’Art Contemporani de Barcelona, Spain (2010); Museo Universitario Arte Contemporáneo, Mexico (2010) and Tate Modern, England (2008).

Goyona Jung is interested in the contemporary demand for exposure on social networks and image formation in human relationships via the Internet. She attempted to collaborate with media and painting after graduating from Hongik University with a degree in Painting. She worked in Korea as “Live Cam Painting”, which offers not only personal daily memories but also other people's daily lives in real time with the audience, and she has expanded her activities abroad to include a number of exhibitions. Through her works, the artist conveys a message about the issues of modern society and raises questions about the gap between modern people's loneliness and their edited daily lives. 

Im Jaehyoung collects images of personal and social loss and explores them in various ways, linking the concept of 'disappearance' with the act of painting. Through his paintings, he creates a unique visual distance, addressing the psychological and ethical distances associated with absence.

Kitti Narod trained at Wi`ayalai Pohchang Art College, Bangkok, from 1996 - 1998, and later obtained his Bachelor of Arts degree from the Rajamonkong Ins=tute of Technology in 2000. He has exhibited extensively both domes=cally and interna=onally, including in Singapore, London, Bath, Edinburgh, Manchester, Dublin, Cork, Montreal, and Melbourne.
Ki} Narod creates pain=ngs that convey a sense of joy and op=mism through gentle and warm portrayals of daily life and human rela=onships. In his pain=ngs, everyone and everything exist together in a utopia. This no=on may seem unrealis=c to some, especially during an era of social division, but the ar=st’s work tries to remind us to appreciate the simple pleasures and raise a`en=on to everyday mundane ma`ers. In which, euphoric feelings will not seem so una`ainable. The ar=st considers his works to be an intersec=on for diversity, where all the physical and spiritual are equal.
Ki} Narod’s recent solo exhibi=ons include “Summer Wind”, Tang Contemporary Art (Hong Kong Sar, China, 2022; “Fragrant City: Ki} Narod Solo Exhibi=on”, Tang Contemporary Art, Bangkok (Thailand, 2021); “Roles in Life”, We Gallery, Shenzhen (China, 2020); “Joy Land”, Tang Contemporary Art, Bangkok (Thailand, 2020); “Ki} Narod Exhibi=on by O‘logy”, PPP, Taipei, Taiwan (China, 2019). Recent group exhibi=ons include “Falling”, Tang Contemporary Art, Beijing (China, 2022); “The Space Between Us II” at ICONSIAM, Tang Contemporary Art, Bangkok (Thailand, 2021); “The Space Between Us I” at ICONSIAM, Tang Contemporary Art, Bangkok (Thailand, 2020); “A Silent Voice”, Tang Contemporary Art, Bangkok (Thailand, 2020); “Spectrosynthesis II - Exposure of Tolerance: LGBTQ in Southeast Asia”, Bangkok Art and Culture Centre (BACC), Bangkok (Thailand, 2019).

Shuto Okayasu’s work explores the dual nature of the same thing; strange and beautiful, real and imagined, loud and quiet, chaos and harmony. Through the process of art marking, what he considers as an endless practice of recording and rebuilding, he lets his mind travel freely between the two worlds; offline and online, the present and the dream, and the past and the future. In Okayasu’s work, a complicated foreground with a crowd of vivid colors creates contrast with a simple and smooth background. Yet, they harmonize with each other in a consistent lonely quiet mood. Influenced by the sampling technique of hip hop, Okayasu chooses from what he caught visually and auditory in everyday life and his culture; Japanese Edo painting, anime, and cartoon, and combines their essence on canvas to appreciate and represent the world where he belongs to. His world is decadent and surreal, but at the same time, it is true to the actual world in some way and leaves us with hope.

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).

Nonsenso works to fill gaps in space. She connects the world inside and outside by projecting floating memories. By collecting floating emotions, overlapping faces, and dispersing colours, the artist tries to communicate with the audience about herself. She is inspired by objects in the world that make up daily life, such as forests, trees, and nights, and shapes them through collage techniques to capture the results she senses while looking at them with a clear gaze. 

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.

Leng Guangmin was born in Qingzhou, Shandong, in 1986. During studies in the department of oil paintings at Tianjin Academy of Fine Arts, Leng spontaneously explored his path to break the traditional paradigm of oil painting creation and became one of the most significant painting artists of the 80s generation. In contrast to accumulated paints and strokes, he chose to open a  brand-new physical space in the image with the movement of slicing. Slicing is not only his creative method but also his attitude toward art, which is keen, determined, and resolute. With relatively consistent painting skills, the artist keeps dissecting materials and images guided by some clues but has no clear themes. The ubiquitous tension formed by confrontations, the opposing but complementary colors, the level and scraped materials, the hard-edged and gradient textures, and the conformal and negative structures are the incomparable attractions of his paintings. They enable the artist to refine the inner order behind the numerous and complicated objects, which can be manifested with images only in a highly abstract and endlessly changing state. His critical solo exhibitions include: "Shell, like the wings of a cicada", MAHO KUBOTA GALLERY, Tokyo, Japan, 2023; Personal Project at West Bund Art & Design Fair, Shanghai, China, 2019; "Ripples", MAHO KUBOTA GALLERY, Tokyo, Japan, 2018;Leng Guangmin: Perfect Destruction, Hive Center for Contemporary Art, Beijing, China, 2017; Leng Guangmin: Hive Center for Contemporary Art, Beijing, China, 2014; Hive · Becoming II, See the Appearance: The Solo Exhibition of Leng Guangmin, Hive Center for Contemporary Art, Beijing, China, 2013 and so on.

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.

Exploring the intersection of reality and fantasy, Jung Woo Jae's emotionally charged artworks delve into the desires and struggles of modern individuals. His recurring motif of the adolescent girl symbolizes the poignant journey of self-discovery and the pursuit of self-esteem in the throes of adulthood. Often depicted as pets, animals emerge as beacons of healing and comfort, offering solace in the face of modern anxieties and the isolating tendencies of individualistic societies. By grounding his fantastical elements within meticulously rendered landscapes and luminous light effects, Jung Woo Jae masterfully blurs the lines between reality and imagination, inviting the viewer to participate in a relatable emotional journey. Through his hyperrealistic techniques, he imbues his art with a potent message of "healing and recovery," offering a comforting presence and a sense of hope to those navigating the uncertainties of modern life.

Misol Lee establishes rules within her radius of daily life, such as her studio and walking routes, allowing her to persist in her painting work. By executing these rules and documenting daily minute changes, she adopts the attitude of a performer rather than a creator towards her paintings. Her method of repeating brush strokes in specific amounts and at specific times becomes a ritual to sustain her life as an artist every day. Thus, when painting a day's worth of work, it's more important to focus on the brush strokes at hand than to predict the finished state in advance. The paintings, filled with daily repetitions, become landscapes imbued with time, and show how the artist, who persistently clings to the objects around her, interacts with the world within the realm of time.

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.

장 미셸 오토니엘은 프랑스를 대표하는 현대미술가로서, 그의 예술 작품은 주로 설치미술, 사진, 조각 등 여러 매체를 통해 표현된다. 삶에서 이뤄지는 다양한 만남과 문화에서 끊임없는 영감을 받는 그는 80년대 후반부터 이를 자신의 개인적 경험과 결합해 왔다. 특히 주재료 유리를 이용한 독특한 작업 방식으로 유명한데, 다채로운 색상과 크기, 투명성, 반짝임 등을 활용해 인간 존재와 관념, 삶의 의미를 다룬다. 영롱한 그의 유리구슬은 수공 과정에서 생긴 일부 흠집들과 공존하며 깨지기 쉬운 유리의 본래 속성을 동시에 연상시킨다. 오토니엘은 이를 인간 삶과 연결해 현재를 살아가는 모든 이들이 상처와 고통을 극복하고 세상과 마주할 수 있는 희망을 전한다.

오토니엘은 1992년 제9회 카셀 도큐멘타 초대작가로 주목받았으며, 2000년 파리 지하철역 개통 100주년 기념 프로젝트로 세계적 명성을 얻었다. 최근인 2019년 루브르(Louvre)의 요청으로 작업한 회화 작업이 미술관에 영구 소장 되었고, 올해 문화 발전의 공로를 인정받아 프랑스 최고 영예인 레지옹 도뇌르 훈장을 수상했다. 한편 그의 작품은 미국 뉴욕 MoMA, 뉴욕 브루클린 미술관, 파리 퐁피두 센터, 파리시립 현대미술관, 까르띠에 현대미술재단, 이탈리아 베니스 페기 구겐하임 컬렉션, 서울 삼성미술관 리움 등에 소장되어 있다. 

Jean-Michel Othoniel, a prominent contemporary French artist, is renowned for his works spanning various mediums including installation, photography, and sculpture. Drawing continuous inspiration from diverse encounters and cultural experiences since the late 1980s, he blends these influences with his personal experiences. Othoniel is particularly acclaimed for his unique approach using glass as his primary material, employing a spectrum of colors, sizes, transparency, and shimmer to explore themes of human existence, concepts, and the essence of life. His luminous glass beads, coexisting with imperfections from the handcrafting process, reflect the fragile nature of glass, symbolizing hope for all to overcome life's challenges and pain.

Othoniel gained international recognition as an invited artist at the 9th Documenta in Kassel in 1992 and furthered his reputation with a major project commemorating the centenary of the Paris Metro in 2000. His recent achievements include permanent inclusion of his painting series by the Louvre in 2019 and receiving France's highest honor, the Légion d’honneur, for his contribution to cultural development. His works are housed in numerous renowned collections such as the Centre Pompidou, Fondation Cartier pour l'Art Contemporain, and the Louvre Museum Paris; Museum of Modern Art and New York Public Library, New York; Boghossian Foundation, Brussels; Leeum Samsung Museum of Art, Seoul; Budi Tek-Yuz Museum, Shanghai; and the Peggy Guggenheim Collection, Venice.

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.’

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.

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