Disorn Duangdao (lives and works in Kanchanaburi, Thailand) focuses his interest on the situations that arise from his surroundings, including the use of raw materials derived from the experience of overlapping and parallel contexts of ambiguity and reality. His practice involves a combination of constructing sets of symbolic language within objects and finding meaning within twisted structures. Disorn’s aesthetic opens up a diverse dialogue ranging from nature, society, and politics, to history, all under the realm of an exchange area for reform and reconstruction.

Through photoscollected via the web, Kim's work embodies the imagined nature and conveys it as though it had been experienced in real life. While traditionalartworks convey nature seen through sight as seen while painting, Kim captures the essence of the asynchronous image seized throughphotography. The "On the waves." series expresses the location and moment where fiction and reality collide by overlapping the seasons andweather experienced on an anonymous beach and in real life. With shards of senses colliding and combining, these pieces try to aggregateeveryday life with remnants of incidental sensations. The imagined sense of movement is artistically articulated, recreated with a thin sense ofspace, and placed on a canvas based on digital photographs. It takes in the image from the monitor and applies a tiny bit of creativity to create awhole new visual world. The moment's image is caught and the invisible components are conveyed visually through the waves that carry theseason's colors. By contemplating and creating a virtual environment, Kim continues her search to find a distinct depth amid the priceless andsuperficial details of precise pieces. By doing this, she emphasizes leaving sensory imprints and communicating beyond the confines of realityand fantasy.

Seonjeong Wang (b. 1990, KR) lives and works in Seoul (KR). She received her Bachelor of Fine Arts from Korea National University of Arts and completed her Master's degree at the same institution. She has been selected as one of the finalists of Arte Laguna Art Prize, Venice in 2018. In her artistic practice, she explores the relationship between social consensus on moral values and the pursuit of desire or pleasure. Portraits being her main practice, figures in her work are expressed with the use of vivid colour tones and expressive yet faint brushstrokes.
 
Wang’s recent solo and group exhibitions include: Love letters from hell, Enseoul gallery. Amsterdam, the Netherlands; With a loving heart, UARTSPACE, Seoul (KR); My Beatrice; IDOL, UARTSPACE, Seoul (KR); Children Crossing the Night, Seoul National University Museum of Art, Seoul (KR); The body of modern painting, National Museum of Modern and Contemporary Art Cheongju, Cheongju (KR)

Changyeol Gu translates the sensorial language of plants—acquired through growing up near lush fields and overgrown meadows—into a painterly language of his own. Observing how natural forms continually shift their appearance through colour and shape, the artist identifies mechanisms of seduction devised for reproduction and systems of protection evolved for survival. These elements are perceived not merely as formal characteristics of nature, but as autonomous languages in themselves.

By radically enlarging or intensifying the structures through which plants communicate and endure—such as the arrangement of pistils and stamens, the colours and scents that attract pollinators, and the thorns and hairs evolved for defence—the artist summons onto the canvas the distinctive wonder of what he terms “speaking plants.”

Benedikt Hipp(b.1977), who studied at the Munich University of Arts in Germany, the University of Bologna in Italy, and the Academy of Bildenden Künste Nürnberg in Germany, has participated in internationally renowned exhibitions. These include the Wilhelm-Hack-Museum Ludwigshafen (2015), Kunstverein Bielefeld (2010), Kunst Palace Erlangen (2012), Art Babe Statement (2009), and Art Babe Statement (2009). He has also taken part in collaborative events like Musée d'Art Contemporain Bordeaux in 2012 and Kunstverein Hannover in 2012.
In 2020-21, he was awarded the prestigious "Roman Award Fellowship" at the German Academy Villa Massimo, one of the most distinguished artist awards in Europe. He currently resides and works in Munich and Rome, Germany, within the European context.


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).

Enzo Lee is a Korean journal artist based in Brooklyn, New York. Enzo first started his journey as an artist by carrying a journal during his teenage years. Uncertain of the future, he started to write down his feelings, thoughts, and experiences to study himself, hoping to gain control over his life. Over time, the habit naturally evolved into something more and became not only a form of recording but also a form of expression. His own voice, the art. Enzo published his first book of essays and poems, “Bird in Space”, in 2014. Realizing that the voice shouldn’t be limited by any specific medium, he went on to study filmmaking to learn multi-dimensional aspects of art. He holds a Bachelor’s Degree in Filmmaking from School of Visual Arts, and works on permanent video journal series called “Piece of Life”. Currently there are about 120 episodes online. Since 2020 COVID, Enzo also started to explore the medium of painting and is now expressing journals through large paintings. Enzo is pursuing to develop his philosophy and artistry of using journal as a tool to live life itself as a form art, the "Piece of Enzo".

Wichuda Khuntijit (b. 1999) is a rising voice in the new generation of Thai female artists, known for her quiet strength and unwavering dedication to her craft. She holds a Bachelor’s degree in Visual Arts from the Faculty of Fine Arts.

Im Jaehyoung collects images of personal and social loss and explores them in various ways, linking the concept of 'disappearance' with the act of painting. Through his paintings, he creates a unique visual distance, addressing the psychological and ethical distances associated with absence.

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?

Seungwon Yang majored in photography at Seoul Institute of the Arts and received her master's degree in fine arts from Chelsea College of Arts, University of the Arts London. He creates pseudo-images that blur the boundaries between reality and fabrication using digital images, exploring the possibilities of extending the field of epistemology and photography. He is currently working on revealing hidden aspects of contemporary society, disrupting the taken-for-granted process of perception, and the process of recognizing situations or landscapes that individuals face in modern society. He also captures the heterogeneity created at the intersection of reality and fiction in an expanded concept. He questions the landscapes of harsh reality resulting from a superficial understanding of regions and places, and the differences in materiality visible in the gap between nature and imitation. He has held solo exhibitions at various venues, including N/A (2022), Seoul Museum of Art SeMA Storage (2021), Hite Collection (2019), and SongEun ArtCube (2018).

SoYeong Kim reflects on urban life through photos taken in daily life, capturing fleeting moments that evoke a sense of both illusion and emptiness. Her work is characterized by creating illusionary scenes by adding painterly ambiguity to real landscapes. She paints by repeatedly layering vertical strokes of acrylic paint on traditional Korean paper (Jangji). The unique textures created from the combination of Jangji and acrylic form the depth and richness of her works. The warm texture of Jangji contrasts with the cold, artificial texture of acrylic, and through the brushstrokes, these elements merge to create a dualistic atmosphere in her compositions.

Julian Opie's practice delves into the idea of representation and the means by which images are perceived and understood through reinterpreting the language of everyday life. With a reductive style, the artist draws influence from classical portraiture, Egyptian hieroglyphs, Japanese woodblock prints, public signage, information boards and traffic signs.

Sungju Ham discovers a formal language from close and familiar images and conducts experimental work on the canvas, varying the frames of the images. He focuses on the boundaries of experiencing the unknown by translating images viewed through phone screens and computer monitors, and then transferring them to canvas. The work process involves capturing the reference image in its liquid crystal state, then translating the image through the camera, followed by the painting process. 

Born in Ukraine in 1993, Katia Lifshin lives and works in Tel Aviv, Israel. She studied art at Pima College in Tucson, Arizona, before continuing her practice independently, gradually shaping a distinctive visual language.

ruby onyinyechi amanze (b. 1982 in Port Harcourt, Nigeria; lives and works in Philadelphia) composes drawings that defy the two-dimensional bounds of paper. Her objects float across the pages, untethered by indicators of gravity, space or time. Seven recurring shapes, including motorcycles, architecture, “ada” the swimmer dancer who is frequently in intimate exchanges with “audre” the leopard, paper, birds, and pools of water, are collaged together in endless renditions directed toward sensations of feeling and sense, rather than conveying a narrative. 

All the forms are free from the restrictions of land; all sense of directionality is lost and they are light and unbounded. The minimalism of amanze’s work is juxtaposed by a sense of limitlessness and depth; the universes in amanze’s drawings are nameless, the only elements that place the shapes in a recognizable world come from photography. amanze uses the element of water through photographic transfer, diluting inks, and leaving traces of drip marks or stains on the bright pale paper, which create marks of movement that shimmer off the page, and reflect into space.  

amanze was the recipient of a Fulbright Scholars Award in Drawing to the University of Nigeria, Nsukka, an Open Sessions participant at the Drawing Center and an artist-in-residence at the Queens Museum. She has exhibited her work globally including at the California African American Museum, the Drawing Center, and the Studio Museum in Harlem. In 2019, amanze was named the Deutsche Bank Featured Artist at Frieze New York. Her work is collected by the Deutsche Museum, Jewish Museum, Studio Museum in Harlem and most recently, the CCS Bard College Hessel Museum of Art.

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.

Ricardo Passaporte's work draws attention to the hand-drawn, homespun nature of their creation by
referencing Outsider Art and engaging with the repetitiveness and impulsivity of graffiti. The artist explores
the symbolic nature of found images and uses this material as inspiration to inform his practice. Passaporte
takes interest in and raises questions around the nature of making art, as well as the dichotomies between
the mass-produced and the uniquely singular art object.

Since 2006, Lee Sangwon has been exploring the “aesthetics of rest” in our time through landscapes of leisure destinations such as ski resorts, swimming pools, and parks. He closely observes the patterns of specific places and spaces where people gather, and through his RESTOPIA series, poses the question: “What does true rest mean in this era?”

His works deviate from traditional perspective, combining various viewpoints such as bird’s-eye views from elevated positions, panoramic angles using 180-degree wide shots, and close-ups or upward gazes at specific subjects. These diverse perspectives make ordinary landscapes feel more extraordinary. Using the characteristic thickness of oil paint, he captures the textures of his subjects, and by traversing the boundary between abstraction and figuration, he explores new possibilities in contemporary painting.

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.

Painting is a gauge of gravity, according to Jeongyoon Park. The artist, who is taking a master's degree in the Department of Fine Arts at Seoul National University of Science and Technology, has been focusing on the concept of gravity. Instead of defying or destroying gravity, she investigates what is possible with gravity. The artist actively utilizes various materials and methods in her works, experimenting with the horizontal possibility of the painting by incorporating fragmentary or complex elements into her works to show various art universes. 

Haeun Hong has continued to record, analyse, and decompose colours, images, techniques as materials, the body's movement to paint, and the materiality of the outcomes. She received a bachelor's degree in Fine Arts from Hongik University, a master's degree in Fine Arts from the same graduate institution. For her, who found great delight in discovering immersion and beauty when observing nature and transitioning it to paintings, life is described as a perpetual process of discovering its beauty. As an artist, she sees her fate as collecting shapes and colours and transforming them into paintings. She wishes to cover the manner in which contemporary people consume and generate images, as well as the materialisation of screen images through the body. Haeun Hong expresses the materiality of painting that the artist examines through the process of drawing on paper, cutting it, and placing it with scissors, which is a distinctive method of artistic production. 

Tae Woo reinterprets traditional Korean landscape painting through a contemporary sensibility, grounding his practice in wayu (臥遊)—“traveling while lying down”—to paint landscapes of memory and imagination rather than literal scenery.

His recurring motif, Gasuho (家守虎)—a “home-guarding tiger”—carries a Korean folk-painting (minhwa) spirit, echoing the folk-inflected tiger imagery recently popularized in Netflix’s animated film KPop Demon Hunters. Birds and children symbolize family and intimacy, reflecting on ways of living and the warmth of relationships.

He gained public recognition after winning KBS2’s No Money No Art (2022), presented HOHO Garden at Gana Art Park Museum (2025), and has released NFT drops via Upbit.

Artists