Cho Youngnam is a celebrated singer, television personality, and contemporary artist who has built a distinctive visual language that bridges popular culture and fine art. By reinterpreting the traditional Korean card game hwatu through the lens of pop art, he transforms a simple pastime into a cultural symbol and collective memory that transcends generations. His works dissolve the boundaries between tradition and modernity, mass culture and high art, humor and satire—expanding the aesthetic possibilities of contemporary art.

Anouk Lamm Anouk is ar=s=c prac=ce spans pain=ng, drawing, sculpture, installa=on, and wri=ng. Their manifesto claims: “No Age, No Gender, No Origin”, or as they say: “I am no one I am nothing” which could be a reference to their embedment in Zen Buddhism. Anouk iden=fies as trans-non-binary and by virtue of this and living as a Person with au=sm, it is crucial to them to rid themselves of the external a`ribu=ons and labels that come from norma=ve society in order both to see and encounter others without the violence of classifica=on and an=cipa=on, to be truly open.
The star=ng point of their pain=ngs is the raw linen, the canvases itself is crucial. The unprimed frontside of the linen is a living part of their works and becomes a connec=ng visual element across several series. Their colour pale`e is strictly limited, most oDen to earthy colours, hues of black and off-white are also present; reduc=on is key. Anouk works both in series and independently of series – some pain=ngs are solely abstract, while others are predominantly figura=ve – all of which is connected by unique handwri=ng and gestural strokes. Text or text fragments are also part of their prac=ces. The texts are inten=onally unobtrusive, some=mes they require viewers to look for them. These give a hint or raise ques=ons.
In their work, Anouk returns to certain mo=fs, beings, and rhythms, which they unite together into a singular, holis=c cosmos, with the aim of conjuring peaceful spaces for contempla=on with a strong undercurrent of desire. This can be seen in their mostly figura=ve representa=ons in the “Lesbian Jazz” series, which features abstract symbols and mo=fs embedded next to naked bodies. The bodies on the canvas are oDen female or non-binary, some=mes sexless, and always anonymous. Faces or facial expressions are rare and usually leD out, because “Lesbian Jazz” portrays above all iden=ty, a lifestyle, a community, and not individualised portraits. Their ar=s=c prac=ce emerges from the urgent need for queer visibility in a world rife with discrimina=on, and their pain=ngs explore the visual languages of fluid iden=ty and body as they are coded and re-coded within society.

I've always had an interest in inventing my own devices and to use them in installations, creating the overall atmosphere of the space which based on reinterpretation of surroundings. These things are specifically revealed through experiments where I attempt to induce experience that stimulate and renew the sense and movement of the body, the emotion or psychological state that are a recreation of ambiguous topic; which all occur by being confronted with the overall effect of the arrangement of sight, tactile sensation, hearing, or materials that can be felt specifically and touched.

Especially, the psychological suspense left from the experience of personal and mixed situations and gestures from unfamiliar environment are relieved by leaving traces of such suspense through the object made from neutral pieces of materials.

These mediators borrow their form from familiar objects such as images derived from nature itself, but they become ambiguous through slight distortion. At the same time, they become my storytelling tools equipped with my intentions, and the essence can be found as I contemplate the duality of the image that is seen among the exploration of defining the subtle differences between reality and imagination.

In recent years I have been fascinated with embroidery since it represents such a precise accumulation of time and effort. I have studied Korean embroidery skills to depict the surrealism of the subject matter – those uncanny images derived from nature itself.
As my primary discipline has been that of the sculptor, the study of material and materiality has always been a fascination. Rediscovering the use of traditional skills and sharing their primordial characteristics, are often the basis of my work.

When I look at the primitive samplers of old or even the ancient medieval embroideries, I feel an absolute identification with the person who worked the piece. My imagination wanders through their state of mind and their circumstances – their desires, their passions and fears. As I produce my own works I like to think they might trigger the same sense of inquiry inspiring a new audience with wonder and intrigue.

Morae Shin is a contemporary artist renowned for her dreamy yet sensuous artistic world. Her works often employ pink tones and neon lighting, creating a unique atmosphere that blends vivid colors with expressionless figures. Through these figures, she conveys emotions such as solitude and emptiness, inviting viewers to interpret and confront the feelings embedded within her art from their own perspectives.

Since beginning her career in 2013, She has expanded her creative endeavors across various mediums, including digital illustration, painting, and video art. She regards her work as a "diary," capturing elements closest to her heart. This approach allows her to infuse her creations with her distinctive sensibility and personal narratives.

Gyubin Seong’s work is based on his everyday joy, interest, and curiosity about his neighbours. She is developing his potential through various artistic endeavours while studying for a degree in fine art at the Seoul National University of Science and Technology. She finds comfort and love in the insignificant moments of daily life, reconstructing them with his mind. Instead of a formal description, she frequently transforms shapes to capture the mood and feelings of the moment. She brings warm memories to the audience through sensitive observation and expression that evokes the senses of sight, hearing, and scent.

Alex Face (Patcharapon Tangruen) is a renowned Thai graffiti artist celebrated for his thought-provoking street art that transcends boundaries in Thailand and beyond. In 2009,
inspired by his newfound fatherhood, he introduced a distinctive three-eyed, bunny-eared character symbolizing innocence and wonder. Known for his street art skills and mastery of European old masters' techniques, Alex Face has seamlessly blended traditional and contemporary elements. In 2022, he marks two decades in the realms of street art and BANGKOK CITY CITY GALLERY fine arts, leaving an indelible imprint on the urban landscape and art scene worldwide


Soyoung Jeon brings onto the canvas plants she has grown and tended herself, as well as subjects and landscapes encountered repeatedly over days of daily walks. For her, “to see” is not merely to register visual information, but to engage in a synesthetic experience accompanied by the texture of surfaces, the volume of air, and even the scent of the wind. Through the accumulation of such sensations, she turns her attention to the layers of time formed in relation to her subjects, that is, to “relationship.” The beings she has met again and again, listening closely to what they seem to say, are often small, fragile, and easily overlooked. Yet she believes that these ordinary and delicate presences ultimately sustain herself, the world, and one another. The plants in her paintings are not simple representations of nature, but traces of relationships built over time and spaces in which the sensation of “aliveness” is quietly questioned.
She reflects on the idea that to be alive also implies moving toward death. Just as blooming and withering coexist within a single plant, her paintings hold together states of emergence and disappearance. Infusing the picture plane with the sensibilities she has learned through nature, she continues painting as a gesture of closely touching the world.

Landscape Opens Into ‘The Returning Place’

My paintings explore how landscape opens into The Returning Place.
I am drawn to moments that seem suspended—clouds before they dissolve, waves gathering, or a sky just before night arrives. These fleeting states appear to hold something not yet fully revealed.
Recurring forms such as clouds, waves, moons, and horizons appear throughout my work. What first appears as landscape slowly unfolds into place. Through perception and lived experience, familiar scenes begin to reveal themselves differently.

Rather than depicting real places, I paint the imagination waiting within familiar landscapes. In this sense, my landscapes are not destinations but thresholds—places where perception, memory, and possibility quietly overlap.

My paintings move toward The Returning Place—a place that feels newly encountered yet strangely
remembered, as if it had always been there.

Turakella Gyindo (Tura) is a Tanzanian multidisciplinary artist and curator based in Dar es Salaam, whose practice spans painting, installation, and live performance. Inspired by human nature and its adaptation to a rapidly changing world, she explores themes of intersectionality, identity, and belonging — envisioning a sense of self that extends beyond rigid social categories. Since completing the Curatorial Practice and Art Management programme at Nafasi Art Space Academy in 2021, she has curated and presented work across exhibitions and residencies in Tanzania, including at Alliance Française and the Goethe-Institut Dar es Salaam.

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.

For Hyunmo Yang, drawing is an observational attempt of self-reflection that leads to a process of balancing. Fragments of daily experiences and emotions manifest as oscillating lines or dense shadowy spaces-proving the interstices of Yang’s painting and existence.

SAMBYPEN is a pop artist who reinterprets contemporary popular culture through parody and humor.

Drawing from familiar imagery—corporate mascots, internet memes, cartoons, and masterpieces—his work questions the boundary between the real and the artificial.
Working across drawing, digital graphics, painting, and street-based practices, he pursues an accessible language of art for everyone.

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).

Yaikel grew up in a city in Chile. The primal power of Mother Nature, urbanity, deserts, folk culture, ancient civilizations, and legends are the main materials that provide him with artistic inspiration. He says “I draw inspiration from elements in nature and the landscape that captivate my attention, as well as iconic objects and places from our culture. The idea is to contemplate how we relate to one another and to our environment.” He explores materials that span from muralism and painting to screen printing and ceramics to seek to develop a unique language through which I can communicate visually with the viewer.

CHO Minah delicately captures how the inner world of individuals transforms and responds within a contemporary society where conflict and solidarity, division and connection coexist. As both an observer and an insider, she constructs scenes interwoven with relationships, symbols, and emotions, unfolding the complex and ambiguous landscape of the present on the canvas like a parable.
Focusing on the will and attitude of individuals as they navigate life, she brings a contemporary sensibility to traditional Oriental painting materials, delivering a universal message that quietly reflects on everyday life and society.
Her major solo exhibitions include 《Swaying moment》 (2022, Gallery MEME), 《 Those Days Are Scattered》 (2021, ArtSpace Boan2), 《 Subtraction, Division and Addition Again》 (2020, Kumho Museum of Art), and 《Deafening Silence》 (2018, OCI Museum of Art). She has been selected for notable programs such as the Kumho Young Artist program, the Gwangju Hwaru Excellence Award, and OCI Young Creatives. Cho has also participated in several artist residency programs, including Kumho Art Studio, Gyeonggi Creation Center and OCI R1211


Abdessemed is a conceptual artist who works in a range of media including drawing, video, photography, performance, and sculpture, and collaborates with creators from many fields, from poetry to dance and architecture. He manipulates familiar materials and images to create provocative and often violent works influenced by his exposure to the Gulf War and its global impact. Drawing on personal, political, and historical narratives, the artist believes that his art “is a confrontation that leads to a break with the norm and is accompanied by extreme anger,” but that his work is simultaneously  “…actually positive. The world is violent – not me".
Abdessemed’s work has been presented at four Venice Biennales (2003, 2007, 2011, 2015), where he received the Benesse Prize in 2007.  He has been the subject of solo exhibitions at major institutions including the Centre Georges Pompidou, the San Francisco Art Institute, MoMA PS1, and the Musée d’art moderne et contemporain in Geneva. His work is held in the permanent collections of the Musée d’art moderne de la Ville de Paris, the Musée national d’art moderne Georges-Pompidou, Paris, the Collection Budi Tek, Shanghai, and the Fondation François Pinault, Venice, among others.

Channing Hansen was born in 1972 in Los Angeles, USA. His knitted works tread the line between painting and sculpture with their web-like construction occasionally revealing the stretcher behind.
Their relationship to craft may initially seem to be at odds with the scientific concepts informing the algorithm. However, bringing these two disciplines into dialogue allows Hansen to explore the tension between chaos and order, as the artist’s hand introduces human variability within
an otherwise programmatic composition. This is evident in the forms his textiles evoke, which might resemble tendrils of DNA, crystalline structures, or biomorphic shapes.

1996 Born in Fukuoka.
Influenced by anime and manga culture during boyhood. In 2017, he started working as an illustrator based in Fukuoka. He creates and presents his works in digital and analog formats. The female with characteristic ennui expressions are a projection of the artist's own inner self.

Grems or Michaël Eveno born in 1978 in Paris, now based in Biarritz, France. A complete artist with an overflowing energy, Grems is this kind of unstoppable artist that will always push the boundaries til the end. His two main creative tendencies, art and music, developed alongside one another, are teasing and forcing each other to more energetic production in order to always create something unexpected while keeping his well known and unique style.


He explores the ways in which events and objects with fragile qualities are transformed into paintings that project his view of the world. The paintings, created by transferring the shapes of intuitive and impulsive trajectories to the canvas, coloring them, and superimposing sketch lines that go back in time, reflect the site of the artist’s body’s vital encounter with and understanding of the world. The shapes formed by the jagged, impulsive trajectories are glazed and clumsy, but there is a recollected sincerity behind their appearance.

The artist creates drawings on the fly, collecting and reinterpreting ideas from objects. He has seen closely or encountered by chance. He perceives the paper or canvas, the support for recording the trajectory, only in his peripheral vision and draws according to the impulsive rhythm of his hand, or he chooses visual isolation, not looking at the support at all. Relying on guesswork and sensation to capture shapes, the recorded objects become the sketches for the paintings, with their fuzzy shapes. Freed from the desire to reproduce the surface of the object, this act aims to truthfully record the indeterminacy and ambiguity of the body’s impulsiveness. The lines thus drawn help me to focus on the abstract fragments of the events encountered and the elements of the painting.

The brushstrokes that apply oil pigment to the drawing’s shapes move and lay out the color plane based on the direction of the drawing strokes, such as where they are applied with pressure and the rhythm of the line. In this process, the drawing outline inevitably becomes embedded in the pigment of the oil painting, which is then scratched out again with a pencil or re-emphasized with a darker brush, preserving the past trajectory as a final image. The forms maintained by the dense outlines create the appearance of a solid exoskeleton that blocks intervention from the outside, but the gaps between lines and lines become a fragile exoskeleton that allows for contact with the outside. In Jang’s paintings, the viewer’s gaze is actively invited to penetrate through the gaps in the outline, just as bacteria penetrates through the gaps in an exoskeleton, creating a field of interaction with the artist’s paintings. This phenomenon is not only the artist’s way of being in a world with complex causal relationships, but also the embodiment of the artist’s attitude toward such a world.

Fairuz Paisan (b. 1981, Malaysia), affectionately known as Po Oi in the Malaysian art scene, graduated with a Master’s degree in Fine Art and Technology from Mara University of Technology in 2014. Actively participating in numerous projects and exhibiting in seminal art exhibitions, Po Oi has gained recognition as an innovative voice in contemporary Malaysian sculpture. His work uniquely explores the organic form of the circle through materials such as wood and fiberglass, combining traditional craftsmanship with a modern Art Deco sensibility.

Through his dedication, Po Oi delves into the hidden complexities of the circular shape, which he sees as a pathway to uncovering deeper simplicity. His sculptures, from wall-mounted pieces to free-standing forms, are carefully constructed, blending fiberglass—symbolic of external beauty—and wood—to represent the underlying essence within. This approach invites viewers to reflect on the contrast between appearance and inner reality, leading them to a quiet, almost sacred center within each piece.

Not only are his pieces celebrated for their technical skill and elegant form, but they also reflect a subtle interplay with pop culture, capturing elements of movement and fluidity. Po Oi’s work is exhibited widely in Malaysia and has garnered acclaim in regional art fairs and galleries. Through his artistic exploration, Po Oi continues to enrich Malaysia's contemporary art scene, inspiring new perspectives on form, depth, and beauty in sculpture.

The artist records vanished neighborhoods and landscapes, translating memory and loss into painting. The city is reimagined not as a real place, but as a layered, emotional space shaped by time and perception. What remains is a self-portrait, constructed through the memory of a city that no longer exists.

Bae Bien U(b. 1950) holds both undergraduate and graduate degrees from Hongik University's School of Applied Art, and has remained internationally active since his first solo exhibition in 1982. In 2006, he was the first Asian photographer to hold a solo exhibition at the Thyssen Bornemisza Museum in Spain, and was commissioned by the Spanish government to film the garden of the Alhambra(Granada, Spain), a world heritage site, for two years. Bae continued to hold large-scale solo exhibitions at venues that range from the Gwangju Museum of Art(2015), the Musée d'art moderne de Saint-etienne(France, 2015), and the Château de Chambord(France, 2015~2016) to the Wilmotte Foundation(Venice, Italy, 2022). He was awarded Lee Jung-sub Arts Award in 2016 and Chevalier de l'Ordre des Arts & Lettres from the French government in 2017.

Born in 1997, Warisa (Shinnawat Sa-nguanjuk) graduated from the Faculty of Architecture and Design, majoring in Communication Design, at Rajamangala University of Technology Rattanakosin. He began creating acrylic paintings under the name ‘Warisa’ in 2021.

Warisa first came to prominence in the contemporary art scene after participating in Bangkok Illustration Fair 2024, which led to his invitation to showcase his work in the group exhibition “First Light: The Joy of Discovery in Contemporary Asia” (2024), presented by All About Art Gallery and held at River City Bangkok. Both showcases received widespread acclaim, marking Warisa as one of the new generation artists to watch—known for his distinctive visual language and introspective sensibility. 

His artistic inspiration stems from the idea of the garden in its many forms—a space where emotion, memory, and imagination intertwine. Influenced by cinematic storytelling, Warisa’s paintings transform scenes of nature into poetic narratives filled with atmosphere and quiet contemplation. His works do not merely depict the beauty of nature, but evoke a world of feeling—one that exists delicately between reality and dream. 



He works with a variety of materials such as wood, stone, and thread, exploring themes of art and life, the ecology of nature, and the cyclical passage of time.

Artists