Jongheon Bae (b. 1969) discovers artistic values in ordinary things with deep thinking and lyrical sensibility, and expresses them through visual media. He creates his own works without restrictions on form and material. He majored in painting at Gachon University and its graduate school, and completed a doctorate in fine arts at Kyungpook National University. Jongheon Bae held a total of 17 solo exhibitions, including Gallery SoSo's 《Trying Nothing》. He also participated in several group exhibitions at home and abroad including Animamix Biennale(Shanghai), Busan Biennale(Busan), Changwon Sculpture Biennale(Changwon), Jeonnam International Ink Biennale(Mokpo), Daegu Photo Biennale(Daegu), the National Museum of Modern and Contemporary Art, Sungkok Museum of Art, Arko Art Museum, SFAC Galleries in San Francisco, ArtN space in Shanghai, and DUMBO Art Center in New York. He published a massive book, 『Bae JongHeon_JagUpZipSeo』(2015, Seoul: Monocle), which is a compilation of his artistic world, including artist's notes summarizing his artistic thoughts, work records, and catalogs. Bae Jongheon won the Goam Art Award in 2014, and his works are collected in the Arko Art Museum, Seoul Museum of Art, and Gyeonggi Art Museum. Following the Glenfiddich Artist-in-Residence in Scotland in 2021, he is working as an artist-in-residence at the Changdong Residency at the National Museum of Modern and Contemporary Art in 2023. In there he is expanding the scope of his work through inspiration from new spaces and life.

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).

Chanida Voraphitak is a distinguished illustrator deeply rooted in the realm of graphic design. Having honed her skills as an art director within the fashion magazine industry and mastering the art of animation, she has discovered an ardent devotion to crafting intricate illustrations imbued with an animalistic allure. Her creative process is marked by meticulous research and recollection, resulting in an inimitable amalgamation of line patterns. With an unwavering embrace of limitless imagination and unrestricted material choices, Voraphitak’s manifests captivating works across an array of mediums, spanning drawing, illustration, product and textile design, as well as installations.

The nature in Jaewon Jung’s paintings encompasses not only nature, which grows on its own without human touch but also nature that has been changed and catered for human preferences and desires. To her, nature is not just an object of contemplation or nostalgia for the lost landscapes, but something that incorporates time, memories, desires, new environment, and experiences that transcend beyond the visible spectrum. Nature continues to change in the past and present, reflecting the relationship between individuals and society, nature and humans, and appears in the most ideal form of that era. As we go back and forth between what's real and what's ideal, we reflect on changes in our perception of nature and ask ourselves what is “true” landscape painting in this era. Beyond realistic and illusory descriptions, she is trying to reproduce nature more sensibly.

Daniel Wheedong Kim uses the metaphor of 'GHOST' to describe contemporary images that are endlessly replicated across mediums. Embracing 'Hyper-Ghostism,' he creates paintings reflecting on the role of art in an era where reality and existence are increasingly blurred.

Scott Young is fascinated by the strange and subtle relationships we project onto objects and possessions. His paintings are contemporary reimaginings of still life and vanitas, featuring objects and motifs with charged social meanings, carefully arranged in coded dialogues. Often employing painting techniques that mimic faux marble or wood, his work hints at the artificiality inherent in our extractive relationship between nature and culture.

Kyukun Kang depicts the narrative in the uncertainty of daily life, which consists of light and darkness. After completing a bachelor's degree in Western painting at Gachon University and a master's degree in Western painting at Sungkyunkwan University, he has continued to draw unpredictable scenarios on canvas. His work, which reflects ordinary daily life and characters, includes clear contrary between light and shadow. Through an anxious, dreamy, and melancholy atmosphere, the artist takes the audience into their inherent stories. As a beginning point for his paintings he uses people's unstable features exposed to an unpredictable future, thereby inspiring people's imagination of events that would occur after the scene. 

Marcel Duchamp made irreverent, wildly inventive art that blazed new trails for the 20th-century avant-garde. He briefly worked in a Cubist mode and helped spur movements including Dada and Conceptualism. Though his practice spanned drawing, painting, and installation, Duchamp is perhaps most famous for his “readymade” sculptures: pieces composed of prefabricated objects such as a urinal, a shovel, or a bicycle wheel affixed to a wooden stool, which the artist situated in the middle of the exhibition space. Duchamp saw the readymade as an opportunity to free art from traditional confines of taste and beauty. He studied at Académie Julian before becoming involved in the avant-garde circles of New York and Paris. Duchamp also played tournament chess and, in the last decades of his life, worked in secret on a final installation, Étant donnés (1946–66). His pieces have sold for up to eight figures on the secondary market and belong in the collections of countless institutions, including the Museum of Modern Art, the Tate, the Staatliches Museum Schwerin, the Guggenheim Museum, and the Metropolitan Museum of Art.

Molly Greene is an American painter who lives and works in Los Angeles, California.
Before devoting herself to art, she spent ten years studying. In 2013, she received a Master of Environmental Science (MESc) degree from Yale University. In 2019, she completed a PhD in American Studies, also at Yale University. During her many years of study, she focused on a variety of topics such as gender and sexuality, post-humanism or animal studies, among others.
She began exhibiting her work as an artist in 2018 in the United States.

Surachai Mawornkanong, also known as Niam Mawornkanong, is an established
Thai artist specializing in intricate acrylic painting on canvas. He used his art to captivate audiences' attention then set them free to explore their own subconsciousness.
Though possessing degrees in philosophy and fine art, the majority of his technique
is self-taught and compliments the fact that he is colorblind. His work also displays a
versatile vision ranging between abstract principles and realistic portraiture.


I paint beings that seem to carry the presence of loneliness. These are often things or creatures that feel overlooked—lost items, small animals, confined beings, objects tucked away in corners. They’re nothing extraordinary: common things anyone might own or pass by without much notice. But if you look closely, you might catch a glimpse of these quiet presences that exist between the steps of everyday life. They’re often found just off to the side of the path, missing a part of themselves, or left behind without a clear purpose.

Sometimes, in the middle of ordinary life, I feel like I’ve become something “other.” I’ve named this feeling becoming a fake human. It’s a sensation that arises when I’m walking down a street, speaking with someone, or standing among a group of people—moments when I suddenly hesitate to connect, sensing that I’m not quite the same. In those moments, I imagine myself as someone nearly human but slightly off, like a flawed copy—resembling a person, yet missing something essential.

I began drawing fragments of "people" through other beings because I believe the things shaped by humans—or whose lives have been altered through human presence—end up resembling us in subtle ways. Whether consciously created objects or living things unconsciously affected by human behavior, these entities are part of the social world we inhabit. And when they’re no longer just someone’s possession, but exist in their own right, they begin to carry a deeper sense of meaning. Their anonymity—the fact that we don’t know where they came from or where they’re going—gives them a kind of quiet, haunting weight.

In my paintings, these figures often share similar appearances. Like the strangers we pass on the street whose faces we never fully see, they fade from memory even as they surround us. I once saw a nearly new doll abandoned on the sidewalk. On another day, I passed an old man drawing on the street in the freezing winter. These are the kinds of moments I try to gather—brief scenes that make you pause for a second and look. Through my work, I want to depict the quiet, slightly unbalanced figures of ordinary people—people who, for just a moment, come into view.

For nearly two decades, d'strict—an ArtTech Factory—has been producing outstanding convergent content by utilizing a wide range of digital media technologies. Their robust technical capabilities have shaped the company's impressive repertoire, which upholds the ethos, "perceiving the zeitgeist and fulfilling its demands constitute the essence of art and the spirit of the artist."
d'strict excels at designing user-centric experiences that are often customized to suit the specific spaces their projects occupy, which is achieved through a content creation process that integrates a variety of interfaces and displays.
Renowned for its capacity to craft intense visual experiences, d'strict is constantly seeking innovative ways to fundamentally stimulate and reshape the perceptions and thoughts of people in their everyday lives, with the ambition to enhance their quality of life.

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).

Danh Vo examines how cultural values, conflicts and traumas are constructed and inherited through work inspired both by his own experiences as well as historical and political events. When he was a child, Vo’s family fled Vietnam and settled in Denmark. His family’s assimilation to European culture and the political events that precipitated their flight from Vietnam are intertwined in his artistic practice; Vo’s work illuminates the interwoven strands of private experience and collective history that shape our sense of self. Using both historically rich readymade objects and personal details that directly and indirectly touch on his own life experiences, Vo examines the larger implications how meaning changes with context, as well as how objects accumulate symbolic weight.

Wasinburee Supanichvoraparch, born in 1971, is a Thai artist based in Ratchaburi known for his innovative approach to ceramics, along with his work in photography, sculpture, and public art. A graduate in Fine Art with a ceramics major from Universitaet Gesamthochschule Kassel in Germany, he combines his expertise in traditional ceramic processes with a fascination for the uncontrollable elements that influence artistic outcomes. This theme of unpredictability, often portrayed with subtle humor and irony, runs throughout his diverse works, which challenge viewers’ perceptions of reality and the surreal. As the owner of Tao Hong Tai Ceramic Factory, Wasinburee’s practice is deeply connected to his family’s ceramic heritage, yet his contemporary approach has helped reshape Thailand’s ceramics scene.

Beyond his individual art, Wasinburee has had a lasting impact on the Thai art community. He founded d Kunst art center and launched Art Normal, Ratchaburi’s first public art event, promoting art accessibility and community engagement. His contributions have earned him prestigious awards, including the Wattanakunathorn Award and the Silpathorn Award for Design. His works are part of esteemed collections worldwide and have been exhibited internationally, including at the Venice Biennale, Singapore Art Museum, and Bangkok Art and Culture Centre. Wasinburee’s commitment to accessible, sustainable art continues to inspire Thailand’s art scene, positioning Ratchaburi as a vital cultural hub.

Étienne Hajdú was a Hungarian-born French sculptor. After emigration to Paris in the '1930, he became a part of the Hungarian circle of artists and writers. He fought in the French Resistance during World War II.

Gungho - An artist with a collection of young collectors in the US, China, Taiwan, and Japan. He has incredible skill, working in a way that leaves no brushstrokes on the artwork.

Soon.Easy - BTS's J-Hope owns "SUGAR CANDY MOUNTAIN #10," and the artist is well-known in the Asian region.


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.

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.’

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