Mahdi Abdullah is one of Indonesia’s most significant painters. He graduated from Faculty of Architecture in Banda Aceh (1988) before earning his master degree at Indonesian Art Institute Yogyakarta in 2012. His works use realism to depict his anxieties about the social reality that he has witnessed while focusing on the life of common people from his hometown. At first, the images might look calm and peaceful but there’s dualism existing in each work.
“It is an introspection, an inventory of his thoughts and feelings that he found inside. Sometimes they’re dreamy, poetic, sometimes mirroring fears and terror, leaving the plane of realism and opening almost surrealist dimensions,”-quoted from art writer Anton Larenz about Mahdi’s realist approach.
He has several exhibitions locally and internationally, with his works present in various collections from museums, galleries and private collectors abroad.


Hijo Nam is a Korean-born contemporary artist based in New York, with a BFA and MFA from Pratt Institute.
Her work spans painting, installation, and textiles, exploring themes of existence, cycles, and motherhood.
In her recent exhibition Threads of Origin, she visualized the flow of memory, myth, and healing.

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.

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.

Chanida Voraphitak is a distinguished illustrator deeply rooted in the realm of graphic design. Having honed her skills as an art director within the fashion magazine industry and mastering the art of animation, she has discovered an ardent devotion to crafting intricate illustrations imbued with an animalistic allure. Her creative process is marked by meticulous research and recollection, resulting in an inimitable amalgamation of line patterns. With an unwavering embrace of limitless imagination and unrestricted material choices, Voraphitak’s manifests captivating works across an array of mediums, spanning drawing, illustration, product and textile design, as well as installations.

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.


Sunday B. Morning is an artistic enigma: a replicator of the 20th century’s most famous replicator. Once an authorized distributor of Andy Warhol prints, the company had its legality questioned after the artist had a change of heart, and its legitimacy as a producer of authentic prints has grown murky. The project began as a collaboration between Warhol and two anonymous friends in Belgium whom the artist contracted to make new editions of some of his most famous artworks—including his famed “Marilyn,” “Flowers,” and “Campbell’s Soup Cans” series—using negatives he gave them himself. Sunday B. Morning continued to make editions of Warhol’s iconic works after the split, in some ways continuing Warhol’s inquiries into image, iconography, reproduction, and ownership. Sunday B. Morning is now a well-known purveyor of prints including the aforementioned works as well as “Mao” and “Dollar” series.

Born in a time when colonisation and political suppression were overwhelming South Korea, Chun Kwang Young went to the US to study at the Philadelphia College of Art in 1968. Chun never adapted to the art scene or lifestyle of the US, however, for it to have emphasised too intensely capitalism and self-expressiveness. Returning to Seoul, he began experimenting with Korean mulberry paper – a material he was familiar with during childhood – to craft large, free-standing sculptures.
 
Aggregation, as Chun’s hallmark series, manifests as sculptures reminiscent of rock formations or monumental crystallisations of minerals. And to create these different shapes and dynamics, Chun would twist, fold, and corrugate countless reused mulberry paper torn from Korean books before wrapping them over polystyrene, giving each of the uniqueness and individuality of his creations – as if becoming metamorphic, living organisms. The medium of paper, after being exploited by mankind, is hence able to return to its natural embrace at long last under the artist’s hands, once again reimbued with vitality. Chun is also mindful of the texts and characters printed on these sheets of mulberry paper. In his approach of tearing and reshaping, what is thus created is an analogy about the destruction of the past and subsequent rebirth of the new. Such a perspective mediates not just artistically as the conscious challenge of traditional genres and methodologies, but also socially in the greater scale to convey the fluidity of semiotics – where meanings of words and language can fade and transform swiftly.
​
Chun Kwang Young’s recent important exhibitions include: “Chun Kwang Young: Times Reimagined” at BIENNALE ARTE (Venice, 2022); solo exhibition at Moscow Museum of Modern Art (Russia, 2022); solo exhibition at Museum Ground (Korea, 2021);“Chun Kwang Young: Full Spectrum”, Sundaram Tagore Gallery (Singapore, 2020); “Special Exhibition: Moment of Giyeok”, Hagaram Art Museum (Korea, 2020); “Kwang Young Chun: Aggregations”, Jordan Schnitzer Museum of Art (USA, 2020); “Sensitive Structure”,  Beck & Eggeling International Fine Art (Düsseldorf, 2019); and “Aggregation” , Sundaram Tagore Gallery (New York, 2018).
​
Chun Kwang Young’s works are collected worldwide including British Museum; M+, Hong Kong; United Nations Headquarters, US; Yale University Art Gallery, US; National Gallery of Australia; Victoria and Albert Museum, UK; National Museum of Modern and Contemporary Art, Korea; Seoul Museum of Art, Korea; How Art Museum, China and more.

Seongjoon Hong(b.1987) continuously investigates the properties of painting, particularly its mediums and materials. Through various techniques, Hong repeatedly depicts scenes layered with smooth, thin, or translucent membranes that subtly reveal the flat canvas surface and the materials composing it. His works feature delicately colored landscapes where light refracts through layered silhouettes, leaving behind only faint shadows where color and image have dissolved. In his Layers of the air series, for instance, Hong centers soap bubbles on the canvas or positions them just beyond the frame, focusing on their lightness and transparency. By zooming in on these surfaces, he distorts the landscape, allowing waves of projected light to transform his work into abstract paintings.

Hong holds both a BFA and MFA in Fine Arts from Hongik University in Seoul. He has held solo exhibitions including at SEOJUNG ART(Seoul & Busan, 2024), 68projects(Berlin, Germany, 2024), Prompt Project(Seoul, 2023), Galerie BHAK(Seoul, 2022), Pipe Gallery(Seoul, 2022) and Hakgojae Design Project Space(Seoul, 2020). He has also participated in various group shows, including at Art Space Hohwa(Seoul, 2024), Frieze No.9 Cork Street(London, UK, 2024), ThisWeekendRoom(Seoul, 2024), M5 GALLERY(Ginja, Japan, 2023), Art space Hohwa(Seoul, 2023), Galerie BHAK(Seoul, 2022), Seojung Art Center(Seoul, 2022), Koo House Museum(Yangpyeong, 2022), Ilwoo Space(Seoul, 2022), and UARTSPACE(Seoul, 2019). He was selected as a 2020 New Hero by Public Art Magazine and participated in the 68projects Residency(Berlin, Germany, 2023). His works are part of collections at the PARKSEOBO Foundation and Art Space Hohwa.


Living and working in Bangkok, Thailand.
Butsapasilaexplores the process of creating collective memories through informal
storytelling across diverse contexts. This includes forms such as folk legends, historical fiction, mystical beliefs passed down orally, as well as conspiracy theories circulating on blogs, alongside personal memories from his own youth.
Much of his work delves into the historical memory of the Thai state, with a particular focus
on the northern region. His research examines the transformative period between the colonial era and the Cold War, a time when perceptions of space were shifting, laying the foundation for contemporary and future worldviews.

Sakhai received her Bachelor’s in Art History and Fine Arts from Hofstra University, and currently serves on the advisory board for the College of Liberal Arts and Sciences. She received her Masters in Fine Arts from the Academy of Art University and has studied internationally including d’Arts Plastique I Disseny (LLOTJA) in Spain. Additionally, she has taught art at the University of California, Berkeley. Her paintings are exhibited in galleries around the world including Tokyo, Ibiza, Miami, Carmel-By-The-Sea, Berkshires, Dallas, and New York City. Her art remains in both private and public collections including the Montefiore Einstein Medical Center, The Fairmont Hotel in San Francisco, and Kamakura Park in Japan. Sakhai's work has been exhibited in Universities including Stanford, Michigan Medicine, The Academy of Art, Hofstra, and Mary Hardin-Baylor. She recently published her first book titled ‘Awakening’, a compilation of 200 of her paintings.

Lucio Fontana was an Argentine-Italian artist known as the founder of Spatialism. The movement focused on the spatial qualities of sculpture and paintings with the goal of breaking through the two-dimensionality of the traditional picture plane. He was best known for his monochrome canvases known as Concetti Spaziale that he would cut or puncture, leaving distinctive gaping slash marks and holes that imbued the finished work with an almost violent energy. In his seminal writing, White Manifesto (1946), the artist traced ideas for creating a new medium that blended architecture, painting, and sculpture.

Eun-Ha Paek is a Seoul-born artist who earned her BFA in Film/Animation/Video from the Rhode Island School of Design. Since then, she has been actively engaged in the fields of animation and visual arts. Her work has been showcased at prestigious venues, including the Guggenheim Museum and the Sundance Film Festival, gaining international recognition. Paek's animated films have captivated audiences with their sensory expression and unique narratives, earning praise in media outlets such as The New York Times, Entertainment Weekly, and G4 Tech TV.

In her work, Paek explores the intersection of humor, grief, and hope, creating pieces that evoke deep emotional resonance. She dismantles the boundaries between the familiar and the strange, using everyday moments to express fundamental human emotions. Paek has also participated in numerous residencies, including at Shigaraki Ceramic Cultural Park, Sundaymorning@ekwc, and Center for Contemporary Ceramics, where she continues to push creative boundaries across various mediums.

b. 1980, Montalban, Philippines

At the heart of Rodel Tapaya’s work is his ongoing amalgamation of folk narrative and contemporary reality within the framework of memory and history. Utilizing a range of media - from large acrylic on canvasses to the exploration of under-glass painting, traditional crafts, diorama, and drawing - Tapaya filters his observations of the world through folktales and pre-colonial historical research,  creating whimsical montages of his characters.

Selected solo exhibitions include: “Random Numbers”, Tang Contemporary Art (Hong Kong SAR, China,2021); “Myths and Truths”, Tang Contemporary Art, Beijing (China, 2018); “Urban Labyrinth”, Ayala Museum, Manila (Philippines, 2018); “Rodel Tapaya: New Art from the Philippines”, National Gallery of Australia, Canberra (Australia, 2017); “Rodel Tapaya”, Galerie der Stadt Sindelfingen (Germany, 2016). Selected group exhibitions include: “Fragment with Dusty Light” Tang Contemporary Art, Seoul (Korea, 2022);  “Memory, Playfulness, and Stream of Consciousness”, Tang Contemporary Art (Hong Kong SAR, China, 2022); “Falling”, Tang Contemporary Art, Beijing (China, 2022); Heavenly Bodies in the South, He Xiangning Art Museum, Shenzhen (China, 2020); “Far Away So Close!”, ARNDT Agency, Berlin (Germany, 2019).

His work is held in the following museum and institutional collections: Art Gallery of New South Wales, National Gallery of Australia, Tokyo Mori Art Museum, Singapore Art Museum, Philippines Bencab Museum, Philippines Ateneo Art Gallery, Philippines Pinto Art Museum, Central Bank of the Philippines. Rodel Tapaya was awarded the coveted Top Prize in the Nokia Art Awards, which allowed him to pursue intensive drawing and painting courses at Parsons School of Design in New York and the University of Helsinki in Finland. In 2011, he won a landmark achievement for a Filipino artist by winning the Signature Art Prize given by the Asia-Pacific Breweries Foundation and the Singapore Art Museum. He was also among the Thirteen Artists Awardee of the Cultural Center of the Philippines in 2012. 

Gwon summons fragments of memory into reality and reconstructs them into photographs, intersecting the objects that existed with the world we face now. His major works include 《Hubble》, 《Twinkle》, 《Nocturama》, 《SF》, 《Bukhansan》, 《Flashbulb Memory》, 《The Art of the Shovel》, and 《Conceptual Dictionary》. Gwon has participated in numerous curated exhibitions at institutions such as the National Museum of Modern and Contemporary Art, Korea (MMCA), Seoul Museum of Art, the Fotofest Biennial in the US, the Center for Creative Photography (CCP) in the US, and T3 Photo Festival in Japan. He was the recipient of the 1st Ralph Gibson Award (2024), the 10th Ilwoo Photography Award in the Publishing category (2019), and was selected as the Final Artist of the Year for the 7th KT&G SKOPF (2015). He has participated in residency programs including Goyang Residency, Incheon Art Platform, Geumcheon Art Space, and Nanji Art Studio. His publications include Bukhansan (Aprilsnow, 2021) and Flashbulb Memory (Hatje Cantz, Germany, 2020). His works are in the collections of the National Museum of Modern and Contemporary Art, Korea; Seoul Museum of Art; Jeonnam Museum of Art; The Museum of Photography, Seoul; and Goeun Museum of Photography.

Bac Jungwon has drawn compositional paintings that express the invisible emotions and minds of humans through various scenes encountered in daily life. After receiving a bachelor's and master's degree in Fine Arts from Kookmin University, she painted unusual, dreamlike, and dramatic situations, but in her mid-30s, she began to paint natural objects and everyday landscapes. Her paintings reveal the fragile psychology and feelings of contemporary people, which are concealed beneath the solid shell of civilization. The artist portrays difficult-to-express psychological levels through a variety of painting mediums, including sketching, watercolor, and oil painting. It defines creation as the discovery of remarkable moments in the repetition of her previous everyday existence and the transformation of the meaning into a material known as painting and reconstructs a daily life from her own unique perspective.

Jo Heejin explores structures of relation and harmony through the repetition and variation of the circle. By joining together small, thin ceramic discs one by one, the artist visualises how each unit’s particular grain and thickness accumulate into an ordered and harmonious whole.
These circular clay elements shift subtly with fingertip pressure and the material’s response; gathered together, those differences produce a surface that seems to breathe like a living organism, forming an organic structure. In Jo’s work, circular repetition is not a mere replication of form but an act that forges relationships by accommodating the other.
At every seam where they meet, a warmth is conveyed—as if the surfaces hold and draw one another in. For Jo, the circle as a “unit” is both an independent entity and the minimal language of coexistence, embracing difference to form a shared landscape.

After working as an architecture 3D renderings in Japan, he moved to the United States and started working as an artist in New York. He creates characters called Poi in sculptures and paintings, and installs them in various places in the city. When he sees the installation locations on a map, he places them in the shape of Poi. “Poi” means “Path of Imagination”. The artist's wish is that everyone in the world can live in harmony so that everyone can smile. The Poi placed throughout the town heals and encourages the hearts of those who meet them, like Jizo statues on the roadside.

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.


Persiapan Gerilya (After S. Soedjojono)

Gazirah dan Laku Waktu

Moments of Journey 2501

Journey 240501

Emily Dickinson's flower

Alice’s Adventure in wonderland P53, 56, 57

Alice’s Adventure in wonderland P71, 74

Fresh Than Any Other

It's You

Night Storm

Night walk

Let It Shine 3

Gate of the Mind

Aggrega6on18-AU049

Aggrega6on23-MY061

Touch the sky 8

Touch the sky 22

Touch the sky 24

Touch the sky 27

Touch the sky 28

Touch the sky 36

Layers of the air 38

Layers of the air 36

Layers of the air 34

Layers of the air 35

Layers of the air 39

Layers of the air 40

Layers of the air 41

the Temple of Doom no.2

Celestial

Algid Liles

Ajisai

True Friendship

Remembering

A Pink Lily Pond

The Lily Pond

The Star, XVII

Temperance, XIV

English Garden Series

In My Dreams

Love Language

Bountiful Bouquet

Boundless

Without End

Devotion

Sounds of Night

In A Haze

Co-Exist I

Even Higher

Clouds Descending

illusion

Wait for Me

Concetto Spaziale, Attese

Potluck

Potluck Portrait

Words Are Weapon

Dog Days

HUBBLE

The Art of Shovel #5

The Art of Shovel #10

Dictionary of Notion #The Change of Seasons

Dictionary of Notion #The World of Fruits

Flashbulb Memory #Summer Break 7

Traveller Novice #5

Traveller Novice #3

Still life

Dance

아나토미 드로잉 시리즈 - 댄스 댄스 댄스

아나토미 드로잉 시리즈 - 화려한 스텝

아나토미 드로잉 시리즈 - 러버

아나토미 드로잉 시리즈 - 사이즈의 문제

아나토미 드로잉 시리즈 - 의지의 문제

아나토미 드로잉 시리즈 - 구원자

아나토미 드로잉 시리즈 - 마음을 뜯는 노래

아나토미 드로잉 시리즈 - 님은 먼곳에

아나토미 드로잉 시리즈 - 내일의 기억

아나토미 드로잉 시리즈 - 탈출

어려운 스텝

밤과춤

죽어가는 정물

womanwomanwoman

아나토미 드로잉 시리즈 - 무거운 길

여자 여자 여자

Girl from Seoul

아나토미 드로잉 시리즈 - 추위와여자

A passing sky

Lonely flower

Anna

아나토미 드로잉 시리즈 - 너의 감각 2

아나토미 드로잉 시리즈 - 갈라진 마음

아나토미 드로잉 시리즈 - 너의 감각 1

아나토미 드로잉 시리즈 - 파워워킹

아나토미 드로잉 시리즈 - 끼인 몸

아나토미 드로잉 시리즈 - 헬프미

지나가는 하늘

목련

여자, 여자, 여자

아나토미 드로잉 시리즈 - A Hard day night

아나토미 드로잉 시리즈 - 줄넘기

오래된 몸짓

Friend of Dorothy

Love

Back Up

Say yes to peace

Not a freak

F$CK

INNER UNITY

Sherbet punch lines series 3

Sherbet punch lines series 1

Sherbet punch lines series 2

Sherbet punch lines(Emerald promise)

Sherbet punch lines(Floating violet mood)

The winds move

We are all in the waves (sunset_3)

We are all in the waves (sunset)

We are all in the waves (11 Sep. 2024)

We are all in the waves (20 Sep. 2024)

A flow in frozen breeze

Self-portrait

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