Tuagomstudio (Born in 1986), known as Pazut Wutigornsombathkul, a visionary Thai artist dedicated to propagating delight and merriment. His passion for art kindled during his early years, ignited by his sister's enchanting sketches. Armed with a degree in interior design, he embarked on a three-year journey in the industry before he resolved to pursue his lifelong dream of birthing his very own cartoon character.

In 2014, Pazut embarked on a creative journey, designing characters that were born from his own imagination. He started by combining geometric shapes, crafting them together until they formed a perfect circle, evoking feelings of cuteness, simplicity, and harmony. This led to the birth of “Tuagomstudio”, a name that would become a wellspring of inspiration for the artist to share positive emotions with those who encountered his creations. It became a small, bright light in the darkest of days for anyone fortunate enough to witness his work.

Pazut is not just an artist but also an ardent photography aficionado, and this passion significantly informs his paintings. Every brushstroke and meticulously selected hue in Tuagom’s realm reflects his photographic perspective. His palette primarily comprises the cheerful shades of yellow and light blue, symbolizing sunshine, hope, laughter, warmth, happiness, and vitality, all designed to elicit spontaneous joy and tell the tale of Pazut’s profound bond with art.

His first solo exhibition, ‘On Cloud Nine,’ opened in 2023 at River City Bangkok. It took the audience on a trip through the friendship and bond between ‘Gommie’, the character of a happy chubby boy, and his dog 'Bingsu', which was warmly welcomed. Then, in 2024, Tuagomstudio showcased his Art toy series ‘I'm a couch potato’ at the Pop Toy Show 2024 in Singapore, where it was highly appreciated by collectors from Singapore and other Asian countries.


Born in Seoul in 1988, Jaeyeon Yoo received her B.A. in Western Painting from Ewha Womans University and her M.F.A. in Painting from the Royal College of Art, UK, and has been working between Seoul and London. She builds landscapes in which everyday life and fantasy coexist, focusing on the time and place of 'night' to unravel the large and small events of everyday life and the individual's imagination and thoughts that originate from these events. She expresses the ambivalent aspects of the world in her paintings by nostalgically visualizing her childhood experiences and memories, and introducing disturbing situations or unclear objects. Through the subtle emotions generated by private memories and fantasies, she aims to draw attention to the 'gap' between the dual worlds of society and the individual, past and present, phenomenon and reality, fear and dream, inner and outer, existence and perception, etc. 
The work Night Walker expresses a dual state of isolation and freedom through the depiction of the landscape of the "blue night," sensed via the light that manifests in the darkness—such as the moon, meteor showers, and the screen of a mobile phone. It captures the figure of a solitary night walker on a late-night stroll.



The nature in Jaewon Jung’s paintings encompasses not only nature, which grows on its own without human touch but also nature that has been changed and catered for human preferences and desires. To her, nature is not just an object of contemplation or nostalgia for the lost landscapes, but something that incorporates time, memories, desires, new environment, and experiences that transcend beyond the visible spectrum. Nature continues to change in the past and present, reflecting the relationship between individuals and society, nature and humans, and appears in the most ideal form of that era. As we go back and forth between what's real and what's ideal, we reflect on changes in our perception of nature and ask ourselves what is “true” landscape painting in this era. Beyond realistic and illusory descriptions, she is trying to reproduce nature more sensibly.

Jonghwan Jin is currently living and working in Seoul, South Korea, where his work is based on painting. He continues to think about the possibilities of expression within the category of painting. He develops abstractions of the invisible but slowly changing landscapes, such as the temperature, humidity, and wind direction felt when welcoming a new season. By implicitly expressing the forms of sensation that exist beyond the visible visual image, he is searching for his painting style.

Embarking on his career in 1991 as a freelance sculpture artist, Pawarest Choksaen (Doe) (b.1970, Bangkok, Thailand) transitioned into the role of Art Director at an advertising agency in 1997. In 2019, he made the pivotal decision to resign from the advertising agency, embracing a full-time commitment to his passion as a fine artist.

In his artistic journey, Choksaen delves into the lives of those in his community, keenly observing their gestures, activities, and diverse perspectives. Through the expressive medium of acrylic paintings, his works become windows into the stories that unfold in the everyday lives of individuals within different contexts.

Ian Ha (b.1997)aims to explore various possibilities of spatial illusions on flat surfaces by irregularly editing various materials and arbitrary subjects. Everyday objects, commonly seen in Ian Ha’s work, are dissected and rearranged by the artist, blurring the boundaries between painting and reality, while posing questions about the reality itself. This reflects the artist’s attempt to reproduce the contemporary phenomenon of desensitization to the flood of random information and images that are often not easy to filter or control, and also reflects the artist’s contemplation on how two dimensional art can be convinced in a technologically advanced society where the gap between virtual space and reality is gradually narrowing.
Ian Ha has B.F.A. in Seoul National University and is a candidate for M.F.A. in Columbia University School of Visual Arts. His solo exhibitions include Shifts and Echoes, Fragment Gallery, New York (2023); The Uncanny, Rabbit and Tiger Gallery, Seoul (2022). The artist also participated in group exhibitions such as in media res, The Blanc Gallery, New York (2023); Standouts, Fredric Snitzer Gallery, Miami (2023); Trajectory of Time, Space U, Bundang (2022).

TENGA ONE began creating graffiti in 1992. Until around the age of 30, he was active in the streets, focusing primarily on murals and urban interventions. In his mid-thirties, he started reflecting on the contradictions he experienced through graffiti culture—the injustice, the invisibility of graffiti writers, and the complex realities they face. To express this, he began carving MDF to resemble cardboard, using it as a sculptural surface on which he painted characters inspired by Japanese animation. This method merges tactile, hand-carved forms with familiar pop-cultural imagery, creating a layered visual language.

Ursula Palla was born 1961 and grew up in Chur, today she lives and works in Zürich. In her work she interlinks video and room sculptures and works with sensitive materials such as moulded sugar, coal dust or snow. The fragility of nature and wild life is the focus in many works. On a first level an enchanting aesthetic make these accessible. Yet all works are based on comprehensive research, and only its knowledge completely reveals the depth and urgency of the work. The video and room installations by Ursula Palla are poetic and at the same time show up voids that often leave behind a stale feeling and remind us of our responsibility towards nature and environment. This makes the artist’s work highly topical.
While in Ursula Pallas’ early work the accent was on the human being as a figure between appearance and disappearance, after 2000 the plant and animal world came into focus as motifs. The artificiality of nature crystallises ever more clearly as the central theme of the multimedia oeuvre.


Kim Hanna is a painter who has lived and worked in Busan since she graduated from the College of Fine Arts at Busan ​​National University. She has depicted the life and relationship between two characters, Hanna and Rabbit which the artist's internal world is reflected by.  

She has had many solo exhibitions, including Alternative Space Loop in 2006, Arario Gallery Beijing in 2007, Arario Gallery Seoul in 2008 and 2013, and Gana Art Gallery Busan in 2017. She also completed her solo exhibitions at Seoul Lotte Hotel & Resort Gallery in 2018, and Ecru in Busan in 2021. She had her first solo exhibition in Bangkok, Thailand in 2023.

She has tried to work with her wide span of creativity. She collaborated with Uniqlo, Shinsegae Department Store, etc. She also created the album cover work for Monthly Yoon Jong Shin. In 2022, she published a Poem book with drawings with the poet Park June. 

Ever since I discovered saturated music (Franck Bedrossian, Raphael Cendo) ten years ago at the Versailles Conservatoire, the theme of Excess has become central both to my work as an ar=st and in my personal musings. While challenging the ra=onale of our ultra- modern socie=es and their economic and societal models, my pain=ngs, in a combina=on realism and abstrac=on, explore this concept of excess, in par=cular through the philosophy of Georges Bataille, literature (Pierre Guyotat, Kathy Acker, Hermann Ungar and many others) and contemporary films.
The despicable, the sublime, ero=cism and death are all spheres in which excess comes into play, and I try to connect them in elaborate composi=ons that draw as much on tradi=onal pictorial techniques as on more contemporary aesthe=cs.
I believe that Pain=ng, and Art in general, are at their origins, the expression of an Impossible that derives as much from vacuity as from surpassing limits.

Eventually, the scenery of the world is transformed into each person’s unique picture plane. Yuki SAEGUSA (b. 1987) aims to capture the subjective world reconstructed in consciousness by an individual's complex memories and perspectives on the canvas. The title of Kukuzen "Tent" (2022) derived from a passage in Zhuangzi's “Dream of Butterflies.” The word pronounced as ‘Kukuzen (栩栩然)’ in Japanese is an onomatopoeic word expressing the appearance of a butterfly flying. A small tent appears in the middle of a surreal field delicately depicted with a fine brush. A small unidentified animal in the lower right corner of the screen is busy exploring an unfamiliar world. The artist emphasizes that both the reality of everyday life and the world within the painting are her true present.




Yuki SAEGUSA was born in Nagano, Japan, in 1987. She received her BFA in Oil Painting at Nagoya University of the Arts  in 2010. She has held solo exhibitions at various institutions such as Gallery A (Shizuoka, Japan, 2022), Yebisu Art Labo  (Aichi, Japan, 2022; 2017; 2013; 2012), as well as group exhibitions held at ARARIO GALLERY SEOUL (Seoul, Korea, 2024), Bunkamura Gallery (Tokyo, Japan, 2023), ARARIO GALLERY SHANGHAI (Shanghai, Korea, 2022), Ginza Tsutaya Books (Tokyo, Japan, 2021), Nagoya Denki Community Hall (Aichi, Japan, 2017) and more. Her works are collected by institutions such as Nagoya University of the Arts, and more.

Twenty-one artists were invited to pay homage to Goya: Fernando Arrabal, Miquel Barceló, Beatriz González, Jenny Holzer, Cristina Iglesias, Anne Imhof, Alfredo Jaar, Koo Jeong A, Alexander Kluge, Robert Longo, Cildo Meireles, Precious Okoyomon, Philippe Parreno, Raymond Pettibon, Elena Del Rivero, Rachel Rose, Thomas Schütte, Santiago Sierra, Rosemarie Trockel, Luc Tuymans, and Adrián Villar Rojas.

Jaeyeon Leem explores a strange sense of novelty from unfamiliar sensations. The artist earned her undergraduate degree in painting from Ewha Womans University and is currently pursuing her master’s in the same institution. In her painting, peculiar emotions entangle with the world and result in its own fantasies. As our familiar world feels inadequate and incomplete, this uncharted mystic realm exerts a greater force upon us. The mythic motifs that appear in her work serve to amplify these sensations of strangeness, mystery, and fear that we have not encountered previously in our world. The unseen and unexperienced world feels like the underbelly of the real world, yet it is a space that makes us conscious of the depths within the human mind. 
Her art seeks to reconcile the coexistence of dualities such as reality and unreality, desire and repression, good and evil, beauty and ugliness, and within these tensions, she expresses the will and hope of life, aspirations, yearnings and fears. Her abstract gestures, intertwined with hidden forms, continually weave a narrative between the worlds she has experienced and those she has never encountered, revealing the artist's connection to an alien and mystical realm. The artist’s work is akin to myths - mysterious yet not fantasy or fiction bur rather a world that closely resembles the non-fictional, one she has sensed and felt.

Minjung Key studied traditional East Asian painting at Seoul National University, where she also completed her graduate studies. The artist’s artistic practice is deeply rooted in an intimate engagement with materials. By juxtaposing the weight and coldness of glass with the softness of hanji, she explores the tension between contrasting materials. In her newer works, however, this exploration evolves—what emerges is a visual language shaped by the rhythmic qualities inherent in the line itself. These lines, generated through a painterly logic, coalesce into forms that assert a palpable sense of weight and presence within the pictorial space.


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.

Anya Paintsil (b. 1993) is a London-based textile artist of Welsh and Ghanaian descent.
Combining traditional hand rug making techniques with Afro hair styling methods, Paintsil’s practice is largely autobiographical. She takes inspiration from her childhood, family stories, and Welsh and Ghanaian mythologies, while exploring identity and gendered labour. Paintsil seeks to promote artistic practices historically devalued due to their associations with femininity and other marginalised groups.

Doyo is a collage artist that focuses mostly on album cover design, print artwork, and art directing. The artist who became interested in collage work in 2016, studies Photoshop by himself and combines every item to communicate imagination and romance. Through the artist's unique use of colour and atmosphere, conveys to modern people the romance and relaxation of daily life.

Mr. OGAY is a street artist from Taiwan, and is a self-proclaimed angry youth filled with love. He has been invited to Japan, China, New York, and more, for graffiti projects. His graffiti art motif mostly features a naked man who is under-dressed. Since stepping into the world of graffiti in 2000, his work has saturated walls all over Taiwan, and he consequently sets the record as the most frequently reported artist in Taiwanese history.


Mónica Loya (b.1990, Mexico) has shown at KÖNIG in Mexico City and exhibited widely across Mexico, the United States, the United Kingdom, and Portugal. Her work merges sharp visual instincts with everyday imagery, constructing dissonant compositions that evoke the surreal logic of dépaysement. Found moments from smartphone snapshots and scenes from daily life are reconstructed on the canvas in new, ambiguous contexts. Through witty compositions, fluid lines, and vibrant tones—often red, blue, and pink—Loya transforms the ordinary into invisible yet emotionally potent events. The viewer is invited to observe and complete the work through their evolving emotional engagement, stepping directly into her open-ended world.

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