Jiho Kim paints what is present but rarely looked at — queerness, women, violence:
things that sit plainly within society yet go unmentioned, or are addressed only
within a fixed frame. The artist describes the work not as healing but as digestion.
A sore muscle only loosens if you keep pressing on it, and painting is much the same:
a return, again and again, to the uncomfortable places usually left alone.
The starting point is always personal experience. Painting something unrelated,
something that stirs no feeling, leaves the artist doubtful of the work. So the first
stage is to retrieve the emotions pushed into a corner and left unexamined, and to
fold and sort them. One is chosen — whichever feels most urgent — and turned over for
weeks until a scene surfaces in the mind like a film still. It passes through sketch
and photograph before reaching the canvas.
The surface is built from many thin layers of oil, blended and rebuilt until a colour
that reads as flat from across the room reveals faint shifts up close — the way skin
does. This is what draws Kim to the figure, and why the canvases are large. What the
work asks for is time: not to be passed by, but stood in front of, approached, and
found to hold something new on each looking. Nothing changes, Kim says, unless it is
brought out.

Jiyoung Yoo studies artificial orders and systems that are found in everyday life, and the history of objects that belong in such system. As a subject of painting, the artist observes and collages various forms of objects such as eggs, water cups, manuscripts, calendars, and clocks that are often categorized as one unit or assembled as a bundle. This unique practice highlights the idea of relations in paintings. Visually intersecting and yet limiting the conditions of systems that each object has, the variations that the artist depicts present a new perspective in her own language.

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.

Hyundoo Jung gathers subjective conversational language by accumulating brushworks that show the physicality of the senses that arise from the inside. After graduating from the Department of Painting at Hongik University, the artist earned a master’s degree in the Department of Fine Arts at the Seoul National University of Science & Technology and was a resident artist at the Gyeonggi Creation Centre. His paintings reflect the trajectory and substance of the human body, while also being hospitable and evoking a distinct feeling. He repeats the process of his works by reacting intuitively to the colours and images formed by the improvisational movement and the state and concentration of the paint application on the canvas. The image of the stacked layers on the screen exposes a spectrum of colours and the artist’s sensual judgement. Hyundoo Jung also gradually makes the chroma heavier while adding a sense of density of colour. He treats the entire screen of his painitngs as a result of complete abstraction and sensation, as if it were directed from the surface to another kind of space. 

Ku, Ja-Young(1969) studied B.F.A and M.F.A Painting at Seoul National University and received MFA, New Forms at Pratt Institute in NY, USA. The artist has worked as a visiting artist at Brigham Young University in Utah in 2001, Afterward being at Art Omi International Artist’s Residency in Omi, New York in 2001, by establishing himself as an international artist. Ku was invited to numerous solo exhibitions and group exhibitions at prominent art museums and galleries in the world, including Witworth Art Gallery, Manchester, England; Arts Center Nabi, Korea; Carrillo Gil Museum, Mexico
City, Mexico and Krakow Triennial Print Exhibition, Krakow, Poland.

I am constantly in search of people and places that bring me a sense of stability. In life, I am always confronted with certain thresholds where I long for steadiness. At those boundaries, I find myself seeking environments and situations that help me maintain a calm emotional state. Most of these are familiar to me: my family, my home, my room, and the surroundings that have held me for a long time. When I ask myself where the process of being filled and forming a sense of self first began, I cannot leave out home and family. I hold close to my heart the softness and warmth of these things, and the precious moments at home where I can express my feelings honestly. In doing so, I try to preserve a quiet emotional balance. It was only natural, then, that the act of painting and the choice of what to paint began with what was closest to me. As I step into the home and room marked by my own traces, I find myself covering over the unstable emotions I could not express outside, and recovering a sense of calm and peace. I capture in my paintings the blue wallpaper close to my body, the scattered blue clothes, the blue blankets and pillows—objects that bear the touch of my hand. Along with them, I try to hold within the painting the tactile sensations of these things against the skin, as well as the emotions of those moments: the comfort, warmth, and tenderness that arise from familiarity.

The feeling of fur brushing between my toes,
the rush of air when my father lifts the blanket high and lets it fall while I am lying down,
the snug warmth of tucking the blanket tightly around my body,
the feeling of touching the cool temperature that has settled into the pillow because of the wind outside,
the soft texture of an old blanket worn thin with holes,
a pair of socks turned inside out on the floor,
the faint sunlight slipping through the blinds,
the sunlight and brightness that reach me as I lie down,
the moon visible through the window before sleep...

I gather these emotions and sensations from my own place and wrap them together, trying to paint their atmosphere and energy. In the process of expression, the act of applying materials softly onto hanji, or tearing its surface to reveal its delicate fibres, has itself become a process through which I find emotional calm. Through the repeated gestures of laying down thick layers of paint and scraping them away, or raising the surface of the hanji, I attempt to convey indirectly a kind of fluffy, tender warmth even through the material surface itself.
Ultimately, I hope that a painting, shaped by the attitude revealed in both the subject I look at and the process of making, can become a bearer of warmth—something held close at one’s side—and that the scope of this warmth may gradually expand.

Alum Lee uses patterns commonly found in the fashion industry, such as dots, stripes, and checks, to move between flatness and illusion, distorting the screen, and revealing flatness through pictorial traces. Through this, she evokes latent data about space, deconstructing and recombining them once again, overlapping layers to produce complex processes of work.

Mira Park (b.1982) navigates the space between consciousness and the unconscious, constructing layered compositions grounded in black. Her works depict surreal combinations of humans, animals, plants, and objects—grotesque, unstable entities that seem to move independently within the frame. These forms suggest stories, yet deliberately resist any fixed narrative. Through recurring motifs like holes, doors, and windows, she blurs the boundary between the real and the virtual, hinting at the possibility of other dimensions. Horn-like forms—recalling tentacles, branches, or hands—suggest fluid mobility and a sense of continuous dimensional shift, pulling the viewer into the unknown.

Kim Yong-il explores childhood memories and collective emotions through the recurring motif of the house. Depicting villages, homes, and fragments of everyday life, his paintings evoke the fading traces of lived experiences. For the artist, the house is not merely an architectural structure but a symbolic space where personal memories intersect with shared communal narratives.
Kim’s work unfolds through two visual narratives: the “stories of day” and the “stories of night.” The former presents luminous scenes of houses and fields bathed in sunlight, recalling the vitality and warmth of childhood memories. The latter introduces a quieter and more contemplative atmosphere, shaped by the imagery of moonlight and seolbap—snow that falls around the Lunar New Year. Together, these two modes traverse different layers of time and recollection, expanding personal memory into a shared emotional landscape.
Charcoal plays a crucial role particularly in the “night” series. The material, reminiscent of the charcoal the artist once played with as a child, becomes a medium for recalling memory. By covering the canvas with charcoal and then scraping it away, Kim creates subtle tonal gradations that suggest memories fading or intensifying over time. This process produces a calm atmosphere and generous areas of empty space that invite viewers to project their own recollections into the work.
Rather than merely depicting landscapes, Kim Yong-il’s paintings function as devices that recall disappearing traces of life and communal memory. The expansive blank spaces within his compositions allow the viewer’s memories to enter the work, transforming the artist’s personal narrative into a shared story of nostalgia, empathy, and quiet reflection.

The artist expresses what is difficult to put into words through drawings and writings. Her work is particularly inspired by the light of spring and summer, as well as books. Books, to her, are more than mere reading materials—they are both physical and intellectual mediums with a unique allure. Clear and tangible in hand, yet boundless in depth, books share a striking resemblance to paintings, a connection the artist continuously explores.
When faced with overwhelming moments or passing waves of solitude, she often finds solace in libraries and bookstores. In these spaces, where the energy of those who create books and those who seek them converges, the act of flipping through pages amidst unfamiliar crowds brings a quiet sense of comfort. Sometimes, without intention, she stumbles upon a sentence that feels as if it was meant just for her, experiencing a fleeting yet profound resonance. These moments are not grand revelations or life-altering epiphanies, but rather subtle, transient impressions—precisely because they are so brief and delicate, she seeks to hold onto them. Through light, color, and form, she translates these experiences into her art, inviting viewers to share in her quiet yet deeply felt reflections.

Wada Chizu liked to draw from an early age, but learned to draw by self-taught against her parents' 
opposition. She started serializing her paintings on the Internet in 2009, and made her debut as a cartoon artist in 2014. Since then, she has been actively working in various art scenes such as publications, exhibitions, and art fairs, expanding the scope of her creation through painting. 
The paintings contain a wide range of themes: humans and animals, me and the outside world, and 
relationships. In recent years, the artist has been focusing on acrylic canvas paintings, but before that, she used to draw manga and illustrations. In the new works presented in this exhibition, she again used the pen, which was the main medium of her work. To her, new works simultaneously mean a return to the roots of her work and an exploration of new styles. In the painting, ‘I’ wear animal clothes. Costumes are a way to protect herself in relationships and an act of allowing her true inner self. That place, different from reality, is another form of self-expression.

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 series, which began in 2024, is the result of a condensation of artistic interests that the artist has been exploring for a long time. Building a deep understanding of art and space through more than 30 years of work on cathedral architecture and sacred art, the color experience of stained glass in particular became an important basis for forming the artist's own painting world.

In this series, the artist unravels the mysteries of love and life, space and existence in a unique formative language. The work talks about the beauty of life, expressing gratitude and wonder for small moments in everyday life and precious beings around us in various colors.

Sculptor, performer, photographer, architect, curator and blogger, he is known internationally for his provocative and political art. He is an opposition figure to the Chinese government and an emblem of freedom of expression in China, openly criticizing the Chinese government’s position on democracy and human rights. Ai was among the first generation of students to study abroad following China’s reform in 1980, and lived in the United States from 1981 to 1993, attending the Arts Students League of New York, the University of Pennsylvania and the University of California, Berkeley.

Kim Joo-hyun's current works represent a series of creative endeavors striving to exclude conventional drawing devices, such as vanishing points, which were habitually employed in the past. While the artist intervenes to generate images on the canvas, the work is completed by focusing solely on creating color, ensuring meaning and intention do not surface. Water-based acrylic paint is applied horizontally, allowed to settle and dry, or tilted to induce flow. Through this process, the canvas reveals a natural visual topography. As artist Kim Joo-hyun stated, the “stability derived from uncertainty” does not resolve into form, stemming from an effort to constantly evade things defined and fixed by meaning. Since neither subject matter nor theme drives the image, the completed work evokes the artist's experienced synesthesia and fleeting moments. As seen in 〈Destiny of Warmth〉 (2025), diluted pigments accumulate, erode, and leave powdery residues. The duration of the production process remains unknowable until one observes the layers of color built up on the canvas's edges. However, it is intriguing that the physical time required for the layers of water and pigment to settle and stabilize on the canvas is comparable to that needed for the sedimentary layers or soil in an actual riverbed.


After extracting the narrative structure of various stories, the artist reconstructs the events and reproduces the images to seek discourse with contemporary narratives. By removing or reconstructing the direct object of the event, the artist attempts to emphasize the essence underlying the narrative to create a dialogue with the audience.

『Patchwork』 series presents the theme of ‘corporealization’ as the counterpart of ‘nation’ and ‘body’ as the constitution of the world. From the Frankenstein-like figure of the combined ragged giant to the cyborg combined with mechanical devices to assist the body, from the small screen to the large screen combined with multiple screens, the evolving or expanding life reflects the state of war of all against all: “Man’s selfish nature to protect himself inevitably shapes the form of a powerful force to realize it”. The main forms (and the result of various agreements) of the entries, such as replacement, substitution, assembly, combination, and expansion, are presented as a body and a state (the mortal god) formed in this state of struggle, and through the exhibition, they come together to form a world.

ROKKANKIM is a South Korea–based artist who presents works across a range of genres, primarily producing media works through collage and video compositing techniques.

Drawing inspiration from the social and cultural phenomena of the 1960s and 1970s, the artist combines these references with personal experiences to create surreal visual narratives. ROKKANKIM is particularly interested in duality—the coexistence of opposing qualities such as good and evil, positivity and negativity. His work invites viewers to experience each piece in their own way, much like how a single event or phenomenon can be interpreted differently depending on individual perspective.

His representative series include Space Oddity, which explores the dual nature of astronauts’ lives alongside the beauty and fear of outer space, and Sea the Wall, which examines the layered and often conflicting relationships between the sea, architecture, and humanity.

YuSeong Choe (b.1983) is an artist who moves away from the premise that painting must interpret reality or convey a specific meaning, focusing instead on the act of painting itself. Rather than constructing a completed image, she concentrates on the sensory responses and processes that unfold on the surface. Her work begins with visual impressions captured from everyday moments and with reactions to spatial conditions on the plane. The surface is not formed according to a predetermined structure, but emerges through the accumulation and layering of elements. Color generates form and space while remaining unfixed, flowing to create emotion and rhythm. For her, painting is not a final statement but an ongoing process that continually questions the notions of completion and harmony. Through surfaces that reveal imperfection and the potential for change, she explores the possibility of painting as a state in which meaning remains open and unsettled.

Ahn Soo-in’s work reflects sensations long experienced as a fragile human presence standing before nature—an existence governed by an exquisitely intricate cycle. Confronted with nature as a source of wonder and longing, the raw sense of inadequacy and quiet shame, along with the persistent desire to draw closer despite them, are carefully gathered and held within the pictorial space.

Leaving behind only the visible traces of nature, the artist reconstructs colour and texture into forms reminiscent of paper folding or modelling clay, revealing a tentative yearning to collect and preserve nature itself. This act of composition is not an attempt to faithfully replicate a complete form, but rather a metaphorical reflection on the posture of beings who live perpetually in states of incompletion—an exploration of longing directed toward wholeness.

REACH, born in 1981 and based in Kaohsiung, Taiwan, began his graffiti journey in 1995. He founded SOUL SKOOL, the first graffiti crew in Taiwan, and has worked with numerous internationally renowned brands. Early in his career, he actively participated in artist residencies and international art festivals in the US, Canada, France, Australia, the Netherlands, Japan, China and more. 


Tarntara earned her bachelor's degree in painting, sculpture, and graphic arts from Silpakorn University in 2014. Her art is stylized in a pop-surrealist style and presented with oil painting techniques. The softness of her brush strokes is a standout feature of her work, demonstrating high-level painting abilities. Her artwork is frequently influenced by her own intense emotions, childhood memories, dreams, and surreal fantasies. Tarntara is captivated by women's unique beauty, as well as Eastern culture and ideology expressed in a contemporary style.


Dulgi and me

Day-Hour-Minute_18 hours

Day-Hour-Minute_A Day

the ocean

March

April

June

Long-Distance Relationship_Wish You Were Here

Day-Hour-Minute_16 Hours 20 Minutes

Tic-Tac-Toe

8:00 PM

8:00 AM

Day-Hour-Minute_3 hours 20 minutes

Day-Hour-Minute_20 Hours 40 Minutes

Untitled

얼굴로 그린 그림 1

20.08.21-08.30

새나무

20.10.22-21.02.03

19.10.30-12.19

풍경

반짝 반짝

얼굴로 그린 그림 2

Birds, Trees, and

A Paradoxical Talk 1-2 

2018-19.12.06

19.10.30-20.01.02

Forest and Body_Mass

토끼잡는 사람

19.08.10-12.19

Face of the Sun and Moon

19.06.27-20.02.19

오른쪽으로-얼굴을 던지는 사람 1

돌머리

빛나는 얼굴

왼쪽으로-얼굴을 던지는 사람 1

얼굴로 그린 그림5

Green Forest

Rock in Red

Walker

Blue Tree

home - jujube tree

home - 이불

home - curtain

hug #36

hug #35

home - carpet

home #11

hug #39

hug #40

hug #38

home - persimmon tree

hug #41

hug #37 - bedroom

home - camellia tree

Dot pattern

Ginghamchck pattern

Chasing Mouth Corners

A Stone’s Tomorrow

Young-Ae's home

Bang-Ju's home_Moonlight

Ik-Soon's neighborhood

A Gap in the Daylight

At the Edge of Sight

Books

Crystal 2018–3

Crystal 2016–8

Growing 1031-1087

Window to the Cosmos_Alpine Poppy

Window to the Cosmos_Red Zinnia

Window to the Cosmos_Solomon's Seal

Window to the Cosmos_Hydrangea

Window to the Cosmos_Unfamiliar Moon and Climbing Roses

Revolt

Zodiac Dragon

Brain Inflation

Ai Weiwei, Revue

Reflection RO_25_3

Reflection RO_25_15

Reflection RO_25_12

Reflection FO_25_3

Reflection FO_25_2

F4.2 [Architectural Plan No. 2]

D1 [Blue Prison]

Wood Grain

Trail

Mist over Moss

Red Depth

Ember Flow

Snowscape

Density of Warmth

Combined dragon

Patchwork golem

Competing heads-Hydra

Quieted head

Orb Halos 2

Orb Halos 3

Space oddity 28

Orb Halos 1

Light of space race 1

Light of space race 3

Light of space race 4

Orb Halos 4

Open space 1

Open space 2

Open space 3

Open space 4

The Form of a Mountain

The buds flipped inside out and thrust upward

오르는 모습들 Ascending Forms

둥글납작하게 서 있는 Standing Rounded-Flat Form

있었던 자리 Where Forms Once Stood

The Shadow Mark

The Vermilion Valley

It’s Soaking in

A Heart in Orange

Making the Mountains_2

Shadow and Shadow

The Reflected Shape_2

The Reflected Shape

The Form of a Mountain_2

The Height of Mass

The Cross-Section of a Mass

Machines Of The Future

I Want A Burger

Ninja Turtles

Break 02

Break 04

Break 03

Gate of the Mind

Artists