Born in 1990, Buwon had a profound interest in toys, play, and street culture from an early age. While studying industrial design at university, he became deeply immersed in 3D tools and created a rabbit character as a motif of himself. Buwon began to build his career as an artist, creating paintings and art toys.
 
Buwon wishes to convey messages about the journey of life and personal growth through his artistic expressions. His lovely rabbit character is the portrait of the artist himself, inspired by his childhood nickname. Behind the image of an adorable rabbit lies a cynical concern, intertwined with the artist's life. The artist draws inspiration from various experiences, conveying messages that encompass both positive and negative emotions, which include happiness, joy, anxiety, and fear.
 
Buwon comprises two distinct forms of art: paintings and art toys. The artist creates digital sketches before transferring them onto the canvas using acrylic paints. He often incorporates unique materials like fur or modifies canvases and panels to enhance his artistic expression and creativity. When it comes to his art toy production, he primarily focuses on creating the rabbit character. He first creates digital sketches and then builds their form through 3D modeling.
Once the design has been completed, he prints out the outcome using a 3D printer and carefully paints and finishes the toy.
 
Buwon has previously collaborated with renowned brands such as Hyundai Motor, Simmons, MCM, SJYP, Giordano, Line Friends, Nike, Asics, and artist Code Kunst. The artist is constantly expanding his artistic boundaries by holding exhibitions in different regions such as Las Vegas and Jakarta.

Eun Sook JEON (b.1980, S. Korea) lives and works in Seoul.
She completed her M.F.A.(2006), B.F.A.(2003) in Sungkyunkwan University. Her main solo exhibitions include ≪Fragments of Sensation≫(Space xx, Seoul, 2024), ≪Slow Move≫(JIDAM gallery, Seoul, 2024), ≪Pacho≫(accompany, Busan, 2023), ≪Pipetting≫(Pyo gallery, online show).

Eun Sook JEON, an artist reminiscent of a TikToker in the art world, exudes an energy that bridges an anxious era with positivity. Her work blurs the line between realism that feels abstract, abstraction that feels realistic an improvisation that transcends boundaries, akin to an anthology of short stories where each scene carries its own distinct narrative. The artist’s character, which dismantles preconceptions, is evident in every aspect of her paintings. She finds beauty even in the flowers blooming in the garden of a redevelopment apartment complex, revealing empathy for soon-to-disappear places and discovering urban gardens in their natural state, thriving only when untouched by human influence. …The keen wiht evident in her work shines particularly as it embodies the stark contrast between life’s expectations and their actual outcomes. Her paintings resemble a collection of life’s ironies compiled as short stories, not for the sake of a polished narrative but to express a genuinely human language through color. _ by Ahn Hyun-jung (Art critic and PhD in Art Philosophy)

SuRim Hong departs from the temporal layers embedded in the French word 'Jadis (long ago).' Drawing narratives of the past from forgotten objects and traces, his painting is a quiet and expansive meditation on things that have disappeared.

A world layered in light, the rhythm of time, and inner strata
Jian Yoo’s work delicately captures traces of life, materiality, and time within a rhythm that is both quiet and alive. Composed of thousands—sometimes tens of thousands—of points, lines, and planes of light, each piece flows across the surface, revealing an inner landscape shaped by time, experience, and environment.
Intangible layers of sensation emerge through the grain of light, moving ceaselessly toward the depths of the self. Mother-of-pearl, a recurring material in Yoo’s practice, serves as a quiet mediator between the natural world and the realm of consciousness—revealing the structure of being through a language of light.
“Exploring the nature of my materials is like looking inward. Within the flows of time and relationships that surround me, I translate quiet yet dynamic energy into fragments of light.”
The waves that ripple across the surface invite viewers to encounter the texture of perception and traces of time. Moving between material and immaterial, tradition and contemporaneity, the work visualizes the rhythm of the unseen—gently touching the viewer’s inner world and awakening forgotten layers of sensation.

Alexandra Grant is a Los Angeles based artist who through an exploration of
the use of text and language in various media painting, drawing, sculpture, film,
and photography probes ideas of translation, identity, dis/location, and social
responsibility. Grant frequently collaborates with other artists, writers, and
philosophers, often going so far as to have specific texts written as the impetus
to her intricate paintings and sculptures. She has collaborated with author
Michael Joyce, actor Keanu Reeves, artist Channing Hansen, and the
philosopher Hélène Cixous, amongst others. Having spent significant portions
of her childhood and adolescence living in Mexico, France, and Spain, some of
the basic questions that fuel her practice are: How do the languages we speak
and the images we see form how we think and exchange ideas? How can
artists and writers work to create and influence culture in an increasingly
technology driven world?

Kowit Wattanarach was born in Loei province, Thailand. Through out his career, he has continually creating a magnificent paintings.

Additionally, he had exhibited in domestic and international stages such as 

Asia Contemporary Art Show, Asia Top Gallery Hotel Art Fair (Hong Kong), Expo Exhibition, Absolute Art Gallery (Belgium), Art Busan 2023 (Korea), Art Busan 2024 (Korea).

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.

In a practice that spans film, photography, and installation, Arthur Jafa confronts the beauty and alienation at the heart of Black American experience. The artist often juxtaposes original and found footage, exploring the possibilities of images and their archives. Jafa studied film and architecture at Howard University. Before focusing on fine art, he enjoyed an illustrious career as a cinematographer and worked on iconic films such as Daughters of the Dust, Crooklyn, and Eyes Wide Shut. His breakout work, 2016’s Love is the Message, The Message is Death, was shown at institutions around the world, including MOCA Los Angeles, ICA Boston, and MCA Denver, among others. He has been included in exhibitions in New York, Los Angeles, Chicago, Amsterdam, and elsewhere. In 2019, Jafa won the Golden Lion Award at the 58th Venice Biennale for his film The White Album.

Peter Chey draws "faceless comfort" under a single idea—that comfort should reach anyone, easily. Working with the most familiar of materials, ballpoint pen and marker, he leaves each figure's face empty so that viewers can project their own stories and complete the work through their own reading. Moved by those who told him his small drawings brought them great comfort, he developed his "Giant Drawing" technique, enlarging tiny ballpoint sketches over a hundredfold and redrawing them by hand in the same medium. The result feels like a picture made by a giant standing steadfastly beside you—an image that shifts with distance, offering comfort through both scale and perception.

Jojo Anavim is an American contemporary artist recognized for transforming the language of consumer culture and brand imagery into a distinctive artistic vocabulary. Drawing from his background in graphic design and marketing, Anavim incorporates familiar logos, advertising icons, and cultural symbols into his work, reassembling them with expressive brushwork and layered textures. His paintings capture both nostalgia and critique, reflecting on how mass media and consumer goods shape collective memory and personal identity. By merging commercial aesthetics with painterly gestures, Anavim situates his practice at the intersection of popular culture and fine art, continuing the legacy of contemporary pop art while infusing it with his own autobiographical narratives.

Born in 1983 in Taipei, the artist graduated from Taipei National University of the Arts, majoring in Fine Arts. His early works focus on portraiture through erasure and alteration, offering a personal emotional interpretation of everyday social relationships. Recently, his work has explored narrative methods and stylistic models established in various periods of art history, using classical painting techniques to piece together, simulate, and reshape images that evoke the fantastical feel of a stage play. Through the language of painting itself, he seeks to examine the tangible and intangible distances between viewer and artwork, as well as the gaps and discontinuities in Taiwan’s reception of Western art, shaped by historical and cultural contexts.

In 2008, he held his first solo exhibition, “Days Like These,” at Dynasty Gallery in Taipei. His works have received the Taiwan New Art Award, the Kaohsiung Award, and the 2005 Young Artist Award, and are part of the National Taiwan Museum of Fine Arts collection. Recent exhibitions include Taipei Art Fair, Instinc Art Space in Singapore, Eslite Gallery in Taipei, and Aki Gallery.

“Unlike my unstable self, who might suddenly disappear or explode, I was drawn to the beautiful stability found in the order and systems of physics.” Hyojeong Son (b.1987) begins her work from this contemplation. Her practice is deeply rooted in an inquiry into physics and mathematics, which she interprets through visual language. Simple symbols and geometric forms serve as the foundation for carefully constructed compositions, imbued with balance, direction, and structure. Her complex visual systems incorporate light, space, and collage to transcend linear time and express invisible forces. Son’s work operates as both a visual investigation of physics and a poetic bridge between science and art.

Art Jeeno or Piyaphach Jeeno (Born in 1987) stands as a revered artist whose influence resonates deeply within the manga community. Following the completion of his undergraduate studies at the Faculty of Fine Arts, Chiang Mai University, he immersed himself entirely in the art of manga. His mastery of intricate line work and distinctive coloring techniques has set him apart, earning him prestigious accolades at the 7th, 8th, and 14th Japan International Manga Awards. These achievements have not only propelled him to prominence but have also unveiled his remarkable talents to a captivated Japanese audience. Furthermore, his manga series, Juice #1, Juice #2, and Juice 3, have been published and distributed in France, affirming his global impact and artistic legacy. 

Art Jeeno’s journey in the art scene began in 2013 with “Now” (2013), a solo exhibition held in Chiang Mai, followed by “Now2” (2017) at Gallery 36 in Bangkok. He has also had the opportunity to exhibit in group exhibitions such as “When Snowflakes Fall” (2022) and “To the moon and (never) back” (2023) at River City Bangkok, which showcased Art Jeeno’s ability to convey the delicate and ephemeral thoughts an emotions of humans through facial expressions and actions, which have become his distinctive artistic signature. His exhibition “A Cold Day in July” (2024) at River City Bangkok marked his first solo show in seven years, representing a pivotal moment in his artistic journey. This exhibition stands as a significant milestone for Art Jeeno, highlighting his growth and unique contribution to the art world and also received a warm welcome from the media and collectors, and all paintings were sold out.


ha-sunwooh explores invisible realms through painting and research, materializing inquiries in artistic practice. Since 2018, ha has been running the Vegan Art Materials Archive.

Kwon, Soon-young (b. 1975) majored in Oriental Painting in Dankook University (B.F.A) and Hongik University (M.F.A). She held a number of solo exhibitions including The Land of Ghosts (The SoSo, 2023), A Journey of tears (Gallery SoSo, 2017), the milk of sorrow (Gallery FACTORY, 2014), Flashback (Kwanhoon gallery, 2007), and participated in group exhibitions such as The SoSo special (The SoSo, 2022), CHILDREN CROSSING THE NIGHT (Seoul National University Museum of Art, 2022), The Adventures of Korean Painting: I Will Go Away All by Myself (National Museum of Modern and Contemporary Art Cheongju, 2019), STILL ACTS (Art Sonje Center, 2016), Journey to a fluid Island (Kumho Museum of Art, 2016). Selected for the grant program of Korea Arts Management Service Center, Kwon has been a special artist representing Gallery SoSo since 2022.  
Kwon, Soon-young has been creating her own world of cruel fairy tales with characters representing young beings in agony. (···) Kwon’s work is not about the fantasy itself, which evaporates in an instant, but instead focuses on innocent characters who console the harsh reality, those who await it even though it will only end in vain. Their naïve wishes, endlessly delayed and never coming true in reality, evolve into more powerful fantasies in the artist’s imagination, and with it, the pain in real life gets worse with their ever-growing anticipation. Because the fantasy created by Kwon is inseparable from reality, the more beautiful and gloomy it is, the more pitiful it gets. – excerpted from Eunju Lee, “Fantasy of sympathy and console”

Takuya Kamioka naturally began his journey in art under the influence of his grandfather and father, who were both painters and illustrators. However, the most decisive moment in his artistic journey was his childhood exposure to hip-hop music and street graffiti. This experience ignited a significant cultural and artistic inspiration in him, and to this day, street culture remains deeply rooted in his work. He focuses on capturing the beauty of harmony and contrast created by light and reflections in everyday landscapes, rather than symbolic subjects. He combines his own photography with imaginative elements to create dreamlike atmospheres in his paintings. He has consistently collaborated with companies and brands such as REEBOK, ADIDAS, TORIBA COFFEE, and DOUTOR, as well as musicians like FUJII KAZE, AWICH, ANARCHY, KOHH, and KANDYTOWN.

Yun Taein’s practice can be understood as an exploration of how soft and fluid materiality shifts into the language of structure and form. Taking materials such as clay and sponge—substances that respond sensitively to external pressure and contact—as her point of departure, the artist attends closely to the moments in which the movement of the hand, the resistance of the material, and the incidental traces produced in the making process become layered and accumulated. Impressions, curves, smudges, and tears left on the surface are not treated merely as by-products of process, but as formative clues that anticipate the structure of the work to come. In particular, organic forms that emerge in a pliable state are later transferred into materials of opposing character through processes such as metal casting or wood carving, allowing the traces of softness to become newly embedded within hard and solid matter. In this way, Yoon Taein’s work delicately reveals the moment in which one materiality is translated into another, traversing sensation and structure, pliancy and solidity, accident and construction. While her furniture and objects reference functional forms, they do not remain confined to the realm of utility; instead, holding within them the residue of sensation and the memory of material, they invite reflection on the sculptural potential inherent in softness.

Yan Lei (b. 1965, Hebei, China) graduated from the Zhejiang Academy of Fine Arts (now known as the China Academy of Art) in Hangzhou in 1991. Yan is a singular and unconventional figure in the Chinese contemporary art world. Adopting an independent and distant attitude, he explores and
unveils different issues, such as power relationships, competition or the closeness of values and prices that exist in the art system through various media including painting, sculpture, installation, video, and performance. His works often incorporate multiple and contradictory values. This
ambiguousness shows, on the one hand, the artist’s alertness to and reflection on the various problems in art making today and, on the other hand, the solitude that he feels from being part of the system and his complex feelings confronted with vulgar reality.

Volo observes the efforts of everyone living through anxiety and translates it into art by depicting their attempts at self-reliance. She represents the feeling of anxiety through abstract images focused on texture, then reinterprets these images by freely cutting and pasting them to attempt "finding balance." The use of techniques such as cutting, pasting, and stacking, which are borrowed from play, reflects her approach to anxiety: not being consumed by its negative aspects, but rather viewing it positively and utilizing it playfully. The paintings and sculptures, even if the pieces do not fit perfectly, form towers or arches that symbolize various forms of self-reliance, while also representing the multiple relationships that involve interacting and creating solidarity with others. Her major exhibitions include <CRAFT+MAN=SHIP> (2024, Seoulbattleship), <Which Working, Nowadays>(2023, CDA), and <Finding Language> (2022, Gallery Bincan). She participated in the short residency program "Asura Hwalhwalta" organized by the Youth Village in Haenam, Jeollanam-do, and her recent work focuses on the paradoxical imagery of beauty and pain coexisting, as well as the cognitive processes of human beings.

SIM Raejung (b. 1983) translates a cynical narrative infused with everyday feelings of loneliness, anxiety, and powerlessness using her unique artistic language. From the various uncomfortable experiences encountered daily to somewhat bizarre fantasies, the emotions and thoughts pouring from the artist's soul swiftly transform into images. These images are expressed in their purest form, emanating a rhythmic yet dark ambiance. Her animation-style visual works take the form of a series of drawings where characters seem oblivious to their circumstances or pain, mindlessly eating, excreting, being severed, with bodies fragmented and entrails swaying and proliferating. Raejung's work is rhythmical, witty, and remains true to human instinct. Viewers are invited into a strange world where logical judgment and common sense do not apply, reminiscent of Antonin Artaud's Theater of Cruelty or the films of Pier Paolo Pasolini. They experience a profound catharsis and freedom akin to that offered by B-grade or horror films.


SIM Raejung was born in Daegu, Korea in 1983. She received her BFA and MFA in Fine Arts at Seoul National University of Science and Technology, Seoul, Korea. She has held solo exhibitions at ARARIO GALLERY SEOUL (Seoul, Korea, 2023), Space Cadalogs (Seoul, Korea, 2023), ARARIO MUSEUM in SPACE (Seoul, Korea, 2019), and Art Space Hue (Paju, Korea, 2016). She has participated in group exhibitions at Songeun (Seoul, Korea, 2023; 2021), Gyeonggi Museum of Art (Ansan, Korea, 2021),  ARARIO GALLERY CHEONAN  (Cheonan, Korea, 2020), ARARIO MUSEUM in SPACE (Seoul, Korea, 2017), Savina Museum of Contemporary Art (Seoul, Korea, 2016), SOMA Museum of Art (Seoul, Korea, 2015) and Leeum Museum of Art (Seoul, Korea, 2014), National Museum of Modern and Contemporary Art (Gwacheon, Korea, 2013), Kumho Museum of Art (Seoul, Korea, 2012), Sungkok Art Museum (Seoul, Korea, 2010), and more. She worked as a resident artist at Cité Internationale des Arts, Paris, France in 2018, SeMA Nanji Residency, Seoul, Korea in 2015, MMCA Residency Goyang, Goyang, Korea, and Tokyo Wonder Site, Tokyo, Japan in 2013. She gained attention for being selected in Leeum Museum's Art Spectrum 2014 and the National Museum of Modern and Contemporary Art's Young Exploration 2013. In 2021, she was selected as one of the participants of the 21st SongEun Art Award Exhibition. Her works are collected by institutions such as the Seoul Museum of Art, Gyeonggi Museum of Modern Art, Art Bank of National Museum of Modern and Contemporary Art, and ARARIO MUSEUM.

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.

Zhu Peihong was born in Shanghai in 1987 and graduated from the printmaking department of Beijing’s Central Academy of Fine Arts in 2014 with a master’s degree.
The artist’s My Space series focuses on the dots, lines, and colour patches that flash in the picture in the process of creation as well as the traces left on the picture due to their convergence and dissolution. In this creative process, the strokes overlap and cover each other, and the paint slowly
drips and spreads, solidifies and stops, repeatedly until these fragmented traces, reaching an internal order, organically connect with each other and construct the conscious cyberspace perceived by the artist’s mind. The abstract dynamic air dome installation 'Space O' uses virtual reality technology to replace brushes with handles and canvas with the sky, releasing the magnificent colour energy existing in the universe. The artist combines art and technology to build a channel between virtuality and reality, connecting it with our world.

Artists