Soon.Easy - BTS's J-Hope owns "SUGAR CANDY MOUNTAIN #10," and the artist is well-known in the Asian region.


n the paintings of Son Jung-gi (b. 1991), nature unfolds as a space of overwhelming scale. A single small figure within the vast landscape reveals how minute human existence can be, and yet how profoundly one is able to contemplate within such quietude. In his works, the viewer encounters an expansion of the inner self through the stillness that nature affords.

Shin Junmin (b. 1985) majored in painting at the College of Fine Arts and the graduate school of Yeungnam University. As a "walker" in everyday life, he has developed a deep interest in the various forms of light, both natural and artificial. His work focuses on visualizing intangible elements such as the day's wind, air, temperature, and sound, all of which contribute to his exploration of light in his paintings.

He has held a total of 10 solo exhibitions to date, including White Out (2024, Pipe Gallery), White Shadow (2024, Artspace Purl), and New Light (2022, Boan Yeogwan 1942). His notable awards include being named Young Artist of the Year (2015, Daegu Culture and Arts Center), Suseong Emerging Artist (2017, Suseong Artpia), Young Artist Support Program (2018-2019, Daegu Foundation for Culture), Ha Jung-woong Young Artist (2019, Gwangju Museum of Art), and First Career Support for Young Artists (2022, Korea Arts Council).

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.

Heejae Lim visualizes situations infused with the desire to touch and possess the essence of ‘Nature’. 
The subjects she deals with, much like the taxidermies in a natural history museum, assume nature to be complete and vivid. In this regard, she discovers a resemblance between the human desire for nature and her own desire for image as a painter. She visualizes the connection between those two dilemmas by focusing on the surfaces that mediate these desires rather than the direct subjects, creating a peculiar texture and depth in her work. Her major solo exhibitions include "Nesting" (Space ONSU, 2023) and "Cabinet of Curiosity" (Lee Eugean Gallery, 2022). She has also participated in numerous group exhibitions such as "Bright Room" (Every Art, 2023), "Inflating World" (Drawing Room, 2020), and "COCOON 2020" (Space K, 2020).


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.

Born in 1980 in Bangkok, ubatsat (pseudonym) earns a bachelor degree in Visual Arts and a master degree in Philosophy and Religion from Chiang Mai university. 

ubatsat is an artist and social activist. As a research-based artist, ubatsat creates artwork that narrates situations where people are under pressure or in crisis.  His art practice includes collaboration with communities such as farmers, craftsmen, musicians, cooks, and specialists in particular field. Through his art, he creates a platform or an artistic situation that enables collaboration with different stakeholders.  ubatsat’s multidisciplinary art includes painting, sculpture, printing and site-specific work. 

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.

Kitty Kaburo (b. 1987) is a Filipino artist of Korean descent. She works with various traditional and non-traditional mediums, incorporating each of their peculiar properties to simulate transformations and effects of time, the elements and human activity on our environments, communities and planet. Shegraduated from the University of the Philippines’ College of Fine Arts in 2015, receiving an Outstanding Thesis award and a series of videos has been shortlisted for the Ateneo Art Awards in 2017. Aside from the Philippines, she has also exhibited in varied locations, including Indonesia, Taiwan and South Korea.

Taesoo Lee is a Korean sculptor known for creating heavy-looking objects using lightweight materials. His work explores the gap between perception and reality by crafting hyper-realistic sculptures of boulders and steel beams that visually defy gravity. Through optical illusion and material deception, Lee challenges viewers’ assumptions and offers a playful yet thought-provoking commentary on how we perceive the world.

Shigeki Matsuyama is a Japanese contemporary artist. His work was shaped by his early career as an illustrator and his philosophical reflections following the 2011 Great East Japan Earthquake. He has since pursued a more conceptual art practice, reinterpreting through his work the impact of modern society's consumerism, pop culture, media, and technology on the human experience. His works provide visual play through the use of repetitive patterns and intense colors, and he is expanding his artistic expression through various media,
including not only painting but also objects and installations.

Atreyu Moniaga is an Indonesian ar=st based in Jakarta. He graduated with a degree in Communica=ons and Visual Design from the Jakarta Ins=tute of the Arts (IKJ) and started his career in the crea=ve scene as a freelance illustrator and photographer before fully immersing himself as a fine ar=st.
His works are influenced by dark fantasies with a =nge of surrealism, in which he combines visual symbolisms as a way to communicate his most private thoughts, feelings, and desires. His works are characterised by a whimsical universe , led with beau=ful ornamental details.
‘Complex emo=ons that are oDen perceived as nega=ve, such as despair, grief, and anguish are fuels to my ar=s=c process. I try to convey these emo=ons through the visual universe I invented,
though I hope my audience can find a source of hopefulness and self- acceptance to confront their own grim facets. I oDen allow myself to be lost in my own thoughts, where I feel unbound in crea=ng these fic=onal stories and characters found in my works, my universe.’

Attempts to interpret the image of flowers as a visual language of emotion, exploring the theme of “recording emotions through flowers.”

Dohyun Kim has visually expressed internal rest, recovery, and stability on the canvas. He fills the canvas with irregular patterns of cardboard shaped in flat waves and colors it with stable hues reminiscent of nature, abstractly visualizing the human inner realm. Within the screen constructed of repeated lines and gaps, and within the rhythm of layered and filled colors, he builds the order of spontaneously emerging forms, colors, and spaces.

Adam Bazlik is a cross‑media artist and creative director whose work spans branding, fashion, motion graphics, and designer art toys, blurring the boundaries between design, storytelling, and crafted visual identity.

Marcel Duchamp made irreverent, wildly inventive art that blazed new trails for the 20th-century avant-garde. He briefly worked in a Cubist mode and helped spur movements including Dada and Conceptualism. Though his practice spanned drawing, painting, and installation, Duchamp is perhaps most famous for his “readymade” sculptures: pieces composed of prefabricated objects such as a urinal, a shovel, or a bicycle wheel affixed to a wooden stool, which the artist situated in the middle of the exhibition space. Duchamp saw the readymade as an opportunity to free art from traditional confines of taste and beauty. He studied at Académie Julian before becoming involved in the avant-garde circles of New York and Paris. Duchamp also played tournament chess and, in the last decades of his life, worked in secret on a final installation, Étant donnés (1946–66). His pieces have sold for up to eight figures on the secondary market and belong in the collections of countless institutions, including the Museum of Modern Art, the Tate, the Staatliches Museum Schwerin, the Guggenheim Museum, and the Metropolitan Museum of Art.

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. 

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.

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.

Sejin Kim focuses on subtle sensations that arise in the body before they are clearly defined by language. Rather than emotions that have already been interpreted and organized, the artist is drawn to raw states that exist prior to such articulation.

Tracing sensations that pass by fleetingly or disappear before they can be fully grasped, these elusive states are translated onto the surface. Rather than conveying a fixed meaning, the work is closer to recording how a particular sensation once existed.

Such intangible sensations ultimately reside in the human body. Kim sees the form of the body as revealing human existence more directly than language, and attends to the traces of sensation that remain within it. Drawn to this honesty of the body, the artist adopts the human figure as a central motif.

Based on the act of sculpture, which involves cutting, gluing, and chipping away at materials, He is experimenting with rethinking the process and structure of sculpture. He views the act of sculpture as a process of simulating the form of a large sculpture through drawings and small maquettes, rather than simply accumulating masses, and also as a process of reconsidering the internal structure of the sculpture, the hierarchy of masses and surfaces, and revealing the traces created in the gaps of such sculptures. Rather than creating a single direction, the artist explores the act of sculpture and the form of sculpture derived from it, which is directed in multiple directions to perceive the space-time of reality in different ways.

Yun Taein’s practice can be understood as an exploration of how soft and fluid materiality shifts into the language of structure and form. Taking materials such as clay and sponge—substances that respond sensitively to external pressure and contact—as her point of departure, the artist attends closely to the moments in which the movement of the hand, the resistance of the material, and the incidental traces produced in the making process become layered and accumulated. Impressions, curves, smudges, and tears left on the surface are not treated merely as by-products of process, but as formative clues that anticipate the structure of the work to come. In particular, organic forms that emerge in a pliable state are later transferred into materials of opposing character through processes such as metal casting or wood carving, allowing the traces of softness to become newly embedded within hard and solid matter. In this way, Yoon Taein’s work delicately reveals the moment in which one materiality is translated into another, traversing sensation and structure, pliancy and solidity, accident and construction. While her furniture and objects reference functional forms, they do not remain confined to the realm of utility; instead, holding within them the residue of sensation and the memory of material, they invite reflection on the sculptural potential inherent in softness.

Be Takerng Pattanopas
(b. 1965, Thailand)

Be Takerng Pattanopas ’s practice emerges from twin obsessions with space within and space without. His exploration of the human body’s interior, through drawings, installations, paintings, and sculptures, symbolises the infinity of the cosmos. This might be a distinctly 21st-century preoccupation – the zeitgeist of this age as our world seems both smaller and bigger than ever.

The artist has suffered complex health issues with benign tumours in adrenal and pituitary glands. This is addressed through hybrid forms that play with symbolizations of voids, microscopic invasions of the body, and also tunnels and monoliths. The latter motif was inspired by Stanley Kubrick’s famed film 2001: A Space Odyssey, based on the sci-fi novel by Arthur C. Clarke. All the elements are precisely orchestrated by the artist so that the viewer’s experience is strangely ambiguous, or meanings appear perpetually in flux as they contemplate expansive metaphors of self.

Pattanopa’s completed a Ph.D. (Fine Art) at Cheltenham & Gloucester CHE in the UK. Solo exhibitions include Space of 25 Light Years (JWD Art Space, Bangkok, 2021); The Nerve That Eats Itself (Gallery VER, Bangkok, 2018); What I Don’t Know That I Know (H Gallery, Bangkok, 2013); Compulsive Orders (Tally Beck Contemporary, New York City, 2011); and Permanent Flux (GMT+7, Brussels, 2009). Commissions and group exhibitions include GAP the Mind (2012), i Light Marina Bay (Singapore); and SPECTROSYNTHESIS II– Exposure of Tolerance (Bangkok Art and Culture Centre, 2019-2020). He is the Director of the Communication Design Programme (CommDe) at Chulalongkorn University in Bangkok.

SUGAR CANDY MOUNTAIN #11

Human and Waves

Romantic white grave

Beyond Uncertainty

The Way of Silence

Toward Silence

A Forest that Asks Nothing

A Journey Into Uncertainty

Through the Forest

Paths

Winter Forest

To the Distant Wood

Walking Alone

Light Flower

White Light

Light Forest

Whiter Flower

Wind Tree

Thorn Tree

Flood Lighting

Bird

White Flower

Waves

Tonight We Dine on Lambs and Baby Chickens (II)

Your Worst Sin Is That You’ve Destroyed and Betrayed Yourself for Nothing

Tonight We Dine on Lambs and Baby Chickens (I)

Study for S/CWS 520

Simultaneous landscape

My garden

Meditation on a book

Art is crossing a desert

My Garden

New World

My Atelier

Intertwined Blanches

Image of an image

Affect

Remains

Incident Light

The Weight of Skin

Hands

Low Light

Flesh Without Flesh

Bouquet

The Shadow of an Object

Beneath the Skin

Remains 2

Trace

A Single Flower

Hand, Light, Shadow

Red Gem

From Behind

Tension 3

Impression

A List of Things

A Pile of Shells 2

A Shell Grave 1

A Shell Grave 2

Empty Frame

Fall Asleep

Face

The End of One’s Gaze 3

Flesh 2

Ghost Flowers

The Sinking Glass

Overload Image

Flesh 3

100 Keys

Expression

Flesh 1

Melting Statue

Heart

틀과 줄기 (Frame and Stem)

부품 키트 (Component Kit)

뒤집어진 개구리 (The Upended Frog)

머리맡의 괴물들 (Monsters at My Bedside)

산호와 조개껍데기 (Corals and Shells)

정감 2 (Affect 2)

시선 (The Gaze)

향하는 손 Reaching Hand

기억 Retention

프레임 Frame

Uncontained

Eye Contact

ICON

Another Object

Object

The End of One’s Gaze 2

The Coral and The Conch

Mobile

A Shell Grave 3

Butterfly Shadows Over the House

Two Wrapped Offerings

A Perfectly Ordinary Scene

OUTER SPACE EXPLORATION KIT

A Pyre in Flames

Crumpled paper

Hallucinatory hero

The Scientist's room

Show Window

A Piece of light

Night view

Weird space 1

Great void

Broken sign

Flexible frame

Heart 2

Melting Santa

Green Beans

Outside of Lights 1

Beyond the Fingertips

Place of Gaze

Outside of Light 2

หาด (Haad) : Beach (Green)

ห้วย (Huai) : Pow (Green)

แจ๋ม (Jaem) : Promontory (Green)

หนอง (Nhong) : Lagoon (Green)

หลง (Hlong) : Shallow pond (Green)

ร้อง (Rong) : Watercourse (Green)

ดอน (Don) : Upland (Green)

คก (Khok) : Mortar pit (Green)

ผา (pha) : Cliff (Green)

ห้วย (Huai) : Pow (Blue)

หนอง (Nhong) : Lagoon (Blue)

ร้อง (Rong) : Watercourse (Blue)

ดอน (Don) : Upland (Blue)

คก (Khok) : Mortar pit (Blue)

กว๊าน (Kwan) : Lake (Blue)

ฝั่ง (Fang) : Shore (Blue)

แจ๋ม (Jaem) : Promontory (Blue)

หลง (Hlong) : Shallow pond (Blue)

หาด (Haad) : Beach (Blue)

ผา (pha) : Cliff (Blue)

กว๊าน (Kwan) : Lake (Green)

ฝั่ง (Fang) : Shore (Green)

Walker

Rock in Red

Green Forest

Blue Tree

Twin Fates

Lilac Girls

D-Stone 12

D-Stone 11

D-Stone 10

D-Stone 05

D-Stone 06

D-Stone 07

D-Stone 01

D-Stone 02

D-Stone 03

D-Stone 04

D-Stone 08

D-Stone 09

Stone Composition 006

Portrait of dazzle AH(bot) #250

Portrait of dazzle #301

Portrait of dazzle AH #285

Portrait of dazzle #265

Portrait of dazzle #264

Portrait of dazzle #263

Portrait of dazzle #262

Portrait of dazzle(bot) #228 AI-generated eyes

Portrait of dazzle #235

Portrait of dazzle AH #245

Portrait of dazzle #260

Portrait of dazzle #270

Portrait of dazzle #279

Self-portrait for multiple accounts #08

Golden Jade Garden

No01

Blues

No Tears Left 5cm 2

Bloom12

Trojam Horse X

Composition No19

Composition pattern No02

A Silvery Water Drop

The Frozen Pond