Marionne Contreras (b. 1992) is a visual artist based in Manila, Philippines, with a current emphasis on fiber and fabric based works. Her works are diaristic, often with themes of memory, its persistence, its purity, and its vulnerability to tampering, with constant undertones of womanhood, consistently taking the role of the female as narrator; taking visual inspiration from textures and forms found in nature while maintaining an aesthetic that leans towards the synthetic.

Highly aware of the universality of the personal, her works often carry intimate personal narratives despite her conscious decision to highlight their ornamental nature – to always stage them as a tableau of beauty given the parameters in which the very idea of “the beautiful” is meant to work.

She has been actively exhibiting in The Philippines. Her most recent one-person exhibition, Poetry has left me, has concluded last 10th of November, 2023 in Vinyl On Vinyl Gallery, Makati City, Philippines.

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?

Hansol Noh shows an interest in the impact of the diverse meanings and information that have been conveniently defined around us on our thoughts. She connects these concepts with language and focuses on painting, primarily utilizing Korean painting media. The artist draws inspiration from the images encountered in daily life, selecting those that evoke a sense of dissonance when observed. Having experienced the redefined significance and symbolism of something once accepted differently, the artist ponders common symbols, the processes of their formation, and the definitions prevalent in our surroundings. Attentive to the subjective meanings and interpretations born from personal experiences, she continues her work, exploring these queries.
She believes that the criteria for defining and evaluating something often rely on 'visible appearances or momentary, fragmented situations.' She finds the act of 'defining' intriguing, as it can assume different facets depending on the individuals defining it. When others define something this way, the intricate narratives surrounding it get omitted, leaving only a partial depiction. This raises questions about its impact, a subject she wishes to explore further.

YISLOW focuses on various relationships that form human life. However, characteristics of YISLOW’s world of art does not limit its subject of the relationship to humans but includes abstract realms such as time, incident, objects, or even oneself. By heaping disordered lines and colors that bloom from the heart, the artist tries to capture the undefinable infinite image like the random atypical humming that vanishes in her work. Perhaps the work of YISLOW is most like the imagery when the word ‘innocent’ is interpreted in the language of visual art.

Lee Ufan is a South Korean artist and art critic born in 1936 in Haman-gun on the southern Korean peninsula, then part of the Japanese empire. He moved to Japan when he was 20 years old, and developed a practice anchored in an Eastern understanding of the nature of materials together with an appreciation of modern European phenomenology. In 2009, the Japanese government honored Lee by conferring the Order of the Rising Sun for “contributing to the development of contemporary art in Japan.” In 2010 the Lee Ufan Museum, designed by Tadao Ando, opened at Benesse Art Site, Naoshima, Japan. Lee has had major exhibitions worldwide, including a retrospective at the Solomon R Guggenheim Museum in New York City in 2011. In 2014, he was selected for the contemporary art program of the Palais de Versailles, and in 2019 the Hirshhorn Museum and Sculpture Garden in Washington DC commissioned a site-specific installation for the museum’s plaza. Lee divides his time between Kamakura, Japan and Paris.

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.

The characters that form the motifs of my work are common images that I have created. They are given a writing order and symbolized, and the process of preservation and change in the repetitive writing is established in the work as several afterimages, like time-lapse photography. Whenever the viewer sees a character that he or she does not remember, the difference between his or her memory and the work is evoked and referenced to the character in his or her memory, and this process reconstructs the work as a painting with intensity. The work also serves as a device to strengthen the connection between the viewer and the character with feelings of "I don't understand" or "What is this?", and as a record of a living person, not only as a work of art, but also as a portrait with an aspect as a recording medium.

Yoonhee Na, a graduate of the Department of Comics and Animation at Sejong University, has been actively publishing since 2014 to the present. She has worked on serials such as <Blind Garden>, <This Magical Moment>, <Whale Star: The Gyeongseong Mermaid>, and <A Heartfelt Andante> and was awarded the Presidential Award at the Korea Content Awards in 2021.

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.

Born in 1994, Seung-gyun Heo, known as CCREATT, studied industrial design at university. During and after completing his studies, the artist developed a keen interest in 3D modeling. He used his creativity and imagination to transform virtual objects into digital art, videos, and figures.CCREATT’s works portray the search for self-identity, lost in a fast-changing world dominated by commercialism. The artist creates 3D models of influential figures, such as artists or celebrities, by capturing their distinct features and characteristics. These figures are then transformed into memes with added symbolism within the digital space.The characters' emotionless facial expressions enhance the implicit meanings and emotions of each figure. Additionally, the small props and items placed beside each character not only symbolize them but are also closely linked to modern society.

The artist portrays how commercialization is deeply ingrained in our society. Through his art, he reveals what may be concealed or overlooked and encourages viewers to reflect on their own relationship with these issues. While his primary focus is on creating 3D figures and reproducing famous paintings, the artist is always exploring new styles and mediums, constantly expanding the boundaries of his art.

Byun Sanghwan is an artist who observes and deals with various objects.

Like a skilled martial artist, Byun navigates through urban landscapes smoothly, and at the same time, he becomes an anthropologist when observing and studying the bizarre light of some precious phenomena that are found in densely packed cityscapes. These cityscapes are disassembled into tiny units to be reborn through poetic metaphors, paradoxes, and humor, resulting in artistic creations. Everyday subjects, appearing in unfamiliar forms, beckon for a fresh perspective on urban life, while traces of physical endeavors inscribed in artworks evoke both the weariness and vitality of life.

The exploration of conditions that delineate various forms of art is also evident in his work. This includes the weight, volume, and space in sculpture, the surface, canvas and paint in painting, the process and multiplicity of images in printmaking, and the neutrality of objects. Moreover, the theme of time and body which permeates all forms of art. The questions at the boundaries manifest in his creations.

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).

Born in 1992, and graduated from the Program in Master of Oil Painting Course, Department of Painting, Tokyo University of the Arts. Mikame’s paintings are created in a manner that appears to drift back and forth between opposite ends of the spectrum of the abstract and the objective. Familiar elements that exist within the artist’s surroundings, the artist’s experiences, and the various phenomena that emerge around the artist are conveyed through means of a harmonious balance between the paint and the brushstrokes. At a glance harnessing a precise air of brevity yet at the same time profoundly orchestrated, the works seemingly evolve into abstract portrayals, while in other moments embody a sense of objectivity. Mikame’s works illustrate forethoughts towards the consistent conditions of painting while simultaneously enticing the viewers with her very own unique world, anticipating the artist to further expand her future endeavors towards contemporary painting.


Edgar Plans (Madrid, 1977), categorized as the most popular Spanish contemporary artist,
grew up and is now based with his family in the northern Spanish town of Gijón. After
earning a degree in Art History from the University of Oviedo, Plans started to participate in
small exhibitions in local galleries. As of today, his works have been exhibited in Museums
such as the MOMA Museum in Moscow Russia, the Xiao Museum in Rizhao, China and the
S2A Museum in Seoul, South Korea.
Plans oil painting pushes boundaries and combines traditional techniques with modern
perspectives. He experiments with diverse styles, from realism to expressionism, creating
captivating narratives and evoking deep emotions. Through vivid colors, dynamic
compositions and innovative approaches he challenges conventions and invites the viewer
to engage in thought-provoking dialogues about identity, society and the human experience.

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. 


Gyume is interested in the form in which invisible things such as air, wind, appearance, and extinction are visualized in the digital space and overlaps the images collected through it into the actual painting space. It freely uses the large and distinct cadence and vitality created by irregular shapes and lines, flexible brushes and paint marks as if swimming in aesthetic space.

At age 16 Marcelo began exhibiting his work as part of group shows. This he accomplished without formal art training. Driven by a passion for drawing and the encouragement of his uncle, at an early age he explored his interest in colour through the use of watercolours, pastels and coloured pencil. Later he completed a course in art at the Catholic University in Santiago.

His early works were heavily focused on religious themes, influenced by colonial baroque artists such as Bolivian Master of Calamarca, Peruvian Holguin and Italian Bitti among others. This first phase in his career lasted more than five years. Then, he discovered the force and the language of colour. Later his influence came mainly from Brueguel, Bosch, Carrington, Dali, Kahlo and Borda to name a few. This led to a second phase which he calls the “apocalypse” phase and subsequently the “altiplano magico” phase.

For years Marcelo has been engaged in the exploration of another symbolic language. The repetition of the Bolivian altiplano landscape is evident in his work. This is the landscape of his childhood and the memory of the scenery haunts him – it is magical with great power and energy.

The images in Marcelo’s paintings are at the same time whimsical, complex, absurd and surreal. These images appear to him at moments throughout the day and he is compelled to record them as sketches in order not to lose the phantasm.

Using the traditional techniques of Buddhist art, he has been working to address various contemporary narratives by utilizing his own ‘minority’. His works combine narratives from his personal experience with religious and queer narratives, and through the various contradictory questions that emerge from this process, he asks essential questions about the dichotomous concepts of minority and majority that constitute contemporary society.

Portrait of an Artist as a Mother as a Universe as an Egg (After Hildegard von Bingen’s The Universe in the Shape of an Egg)

Radiant Vivid Afternoon

Interval

Entre-Tien

Espoir

Silence

Tacit

Calendula

Paradise

Feste

Aerie

Medusa

Triumphal

Coaxacan

A Round Flame

A falling sphere

Still life with Sphere and a floral crown

A widening crack

Hearts

Harmony

Today

Lo is Nothing 5

Kyoungchip

Somewhere Unknown 18

Somewhere Unknown 17

Angel 1

Play

Peace

Love

Boing!

Like it

Faces 1

Faces 2

What kind of house will we live in next? 1

Untitled (I)

Untitled (II)

Untitled (VI)

Untitled (V)

Untitled (IV)

Crystal 2018–3

Crystal 2016–8

Growing 1031-1087

Study_for_Null_Portrai t of someone#205

Study_for_Null_Portr ait of someone#138

What to see in repeated portraits #029

Whale Star: The Gyeongseong Mermaid

404 Not Found

Landing

Burning Faces

Tripod and Asymmetry Others

Rendezvous_ True Survivors

Where's Ocean?

War Is Over!

Why Always Me?

Live Rust-Odyssey 24001 (β)

Live Rust-Odyssey 23003 (α)

Live Rust-Odyssey 23003 (β)

Live Rust-Odyssey 24001 (α)

Live Rust-Odyssey 24001 (γ)

Untitled

Queen of Spade

Life is a game

Hommage to Raymond Briggs 

Snowman

Hommage to raymond briggs

The Moment of Creation

Resonance Moment

Color of Charity

Sacrament

Skatergirl

Rayito on the road

Dragon ball

Making a mural

Glaciation 2.0

The Cotton Shield

Fragility of change

Split the night

I rode the waves, and I was just surprised

Running blueberry

If you pick up a rainbow

The four leaves left by the shadow

Creature I

得逢 Mountaintop

虎門 Homoon_The back door blooms

肛淚 Tears of anus

虎上 One upper

Marketplace

Exhibitions

On View

About

EN
$

Marketplace

Exhibitions

On View

About

My Page

Featured Artists on Artue