Influenced by Dansaekhwa, the Korean monochrome painting, and the Japanese Mono-ha movement, Kim Yong-Ik established his career in the late 1970s with his Plane Object paintings, a series of airbrush paintings on unstretched canvases that relate to these traditions. In the 1980s, having completed a thesis on Marcel Duchamp, Kim moved from the ‘Plane Object’ series to more abstract and geometric languages. During the 1980s and 1990s, he developed increasingly experimental work by using scraps and thus including forces greater than his own imprint, such as stains, hair or dust. By the early 1990s, Kim develops his “polka dot” series consisting of paintings depicting simple and serialized arrangements of circles.

In 1999, Kim helped establish one of Korea’s leading exhibition spaces known as “art space pool.” He participated in the Gwangju Biennale in 2002; in “SeMA Gold 2012: Hidden Track,” an exhibition at the Seoul Museum to shed light on stellar artworks by mid-career artists of Korea; and the 5th Yokohama Triennial in 2014. In 2016 Kim was the subject of an extensive retrospective at Ilmin Museum of Art in Seoul. His first exhibitions in Europe were at Spike Island, Bristol, and a partner exhibition at the Korean Cultural Centre UK, in 2017.  Kim Yong-Ik’s works are part of the permanent collections of the National Museum of Modern and Contemporary Art, Seoul Art Museum, Leeum, Samsung Art Museum and Tokyo Metropolitan Museum of Art, and the Museum of Contemporary Art in Los Angeles, among others.

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.

JuAe Park presents works in this exhibition that take the body itself as material. At the intersection of mural labor and artistic practice, the work documents acts of applying paint directly and rolling across the floor as panoramic images.

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.’

Weedong Yoon (b. 1982), an artist based in Korea, explores the cyclical nature of existence through hyper-realistic paintings. His work reflects themes of growth, struggle, and transformation, often using stones and sand as metaphors for renewal and completion. In his Monologue Series, Yoon portrays the journey of a stone passing over sand—its rough, intense moments symbolizing life's challenges, while the smooth, settled sand represents the serenity of life's fruition. This series encourages viewers to reflect on their own resilience and beauty, despite external struggles, and underscores the transformative power of time.

In addition to the Monologue Series, Yoon's works featuring birds further explore themes of harmony and balance. These birds symbolize connection, transcendence, and the unseen forces that sustain the natural world. They embody the delicate equilibrium between opposing forces—East and West, abstract and concrete—and highlight the importance of quiet actions in maintaining the world’s cycles. Together, these works prompt deeper contemplation of life’s interconnected processes.

Yoon’s art is rooted in the belief that all things ultimately return to nature. His recent participation in the “Find the Nature” exhibition at Objecthood Gallery reinforces this idea, emphasizing the link between the natural world and human-made creations. With a keen eye for detail, Yoon’s paintings invite introspection, offering viewers a space to reflect on the cycles that shape both the world and our lives.

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.

﻿I begin my work by examining the surface of worn coins, an act that calls forth forgotten civilizations rather than mere observation. Using optical and electron microscopes, 
I extend microscopic surfaces beyond the limits of the naked eye and translate them into visual language, juxtaposing additional images onto the metal.
The microscopes are not merely tools of magnification but devices that transform perception. I no longer see coins as currency, but as material records where power, belief, and identity are compressed, their cracks and textures revealing layers of time and history. I overlay these surfaces with newspaper articles, film scenes, and symbolic objects, allowing images from different eras to collide and intersect within a single frame.
For me, magnification is both a physical expansion and a metaphorical leap toward deeper perception, where scientific visuality and imagination coexist.
Ultimately, this work uses technology to reveal the unseen and question what is recorded or erased, turning the coin into a canvas for lost voices.

AHN Jisan (b.1979) works with traditional canvas painting, a relatively marginalized medium in contemporary art. His works depict reality, but one that is strangely misaligned or distorted. The depiction of obscure images adds visual tension, and these subjects, which have slipped out from reality, project an even greater uneasiness that brings out their innate anxiety. Upon confronting his work, there is an instant sense of discomfort. The emotional tension and gloominess are amplified by accentuating the material properties and mounting thick, expressive layers of paint onto the canvas. AHN's intention to express the subject in its raw visual state brings out the absorbed emotions created and embedded within it. These improvised animalistic expressions are possible through a thorough study and modeling process. The substantiality of the objects is neither constructed nor reconstructed but is, in fact, a realization of experienced, felt, and penetrated emotions. Rather than portraying the subject of conceptual representation through obvious imagery, the artist expresses the reality and emotional experience of the subject through intuition and empathy.

 

AHN Jisan was born in Busan in 1979. He received his BFA in Fine Art at Korea National University of Arts in 2006 and MFA in Painting at Frank Mohr Institute, Groningen, Netherlands in 2011. He has held solo exhibitions at various institutions including Galerie Bart (Amsterdam, Netherlands, 2023; 2020; 2015; 2014), ARARIO GALLERY SEOUL (Seoul, Korea, 2024; 2023; 2016), Zaha Museum (Seoul, Korea, 2017), Hapjungjigu (Seoul, Korea, 2016), and more. He has participated in group exhibitions at ARARIO GALLERY SEOUL (Seoul, Korea, 2024; 2023; 2016), Gyeonggi Museum of Modern Art (Ansan, Korea, 2020; 2017), National Museum of Modern and Contemporary Art (Cheongju, Korea, 2020), Daegu Art Museum (Daegu, Korea, 2017), Jeonbuk Museum of Art (Wanju, Korea, 2016), Arko Art Center (Seoul, Korea, 2016), and more. In 2013, he was the artist-in-residence at Rijksakademie Van Beeldende Kunsten (Amsterdam, Netherlands). In 2014, AHN won the Buning Brongers Prijzen (Amsterdam, Netherlands). His works are collected by numerous institutions including National Museum of Modern and Contemporary Art’s Art Bank, Seoul Museum of Art,  Gyeonggi Museum of Modern Art, ARARIO MUSEUM.

In a space in between composition and abstraction, April Yang continues to use painting as a common language that includes individual appreciation. She obtained her MFA in Painting at the Royal College of Art after studying Painting at the Korea National University of Arts, and she has exhibited her work both in the UK and in Korea. Her interest in life derives from her diasporic background, having lived in several locations, and been exposed to other cultures since she was a young child. She also looks for ways to communicate across linguistic and cultural barriers. She enjoys in illustrating the spirit of mankind and environment in a range of materials and scales, whether it be in a vibrant portrait or an abstraction with a focus on color and line. Her work is intuitive and sensitive, and she hopes to appreciate it with reflection and contemplation to purify visitors’ minds and consciousness and find peace and optimism.

He is an artist who moves between painting and installation, visually interpreting the remnants of the city and fragments of memory. Using materials such as acrylic, resin, and recycled elements, he explores layers and transformations of texture, creating works that evoke the process of urban walls being repeatedly painted over and peeled away.

Cho Youngnam is a celebrated singer, television personality, and contemporary artist who has built a distinctive visual language that bridges popular culture and fine art. By reinterpreting the traditional Korean card game hwatu through the lens of pop art, he transforms a simple pastime into a cultural symbol and collective memory that transcends generations. His works dissolve the boundaries between tradition and modernity, mass culture and high art, humor and satire—expanding the aesthetic possibilities of contemporary art.

Muhammad Jabbar Dipanegara was born in Bandung, 1986. In 2012 he completed the Master of Visual Art program at FSRD Bandung Institute of Technology. Apart from being an artist, Jabar is also active in teaching as a lecturer at a private university in Bandung. 

Gyu Ok (B.1979) graduated from Dong-duk Women's University College of Arts in Painting (B.F.A.) and completed a master's degree (Diplom) at Munich National College of Art with Sean Scully and a doctorate in painting at Dongduk Women's University. She participated in nine solo and several group shows internationally. Also, she was selected in the Art Factory Dadaepo (Busan) Residence and Kunstdog (Leipzig) Residence. It is owned by the National Department of Modern and Contemporary Art and the Art Bank, and by a number of businesses and personal collectors. She currently lives and works in Atlanta, U.S.

Kang Se kyung explores the passage of time and the emotions that quietly accumulate throughout life. In his paintings, the recurring image of an old automobile serves as a symbolic self-portrait while also reflecting the shared human experience. The rust, scratches, and worn surfaces are not signs of decay, but traces of lived time—honest records of memories, resilience, and emotional growth.

Lee Sanoh (b. 1996) moves fluidly between Eastern painting and ceramics, pursuing a practice unconfined by fixed forms and free to unfold its own narrative. Stories that began with earlier works — rooted in the experience of losing her grandmother and a sustained attention to fragile, neglected subjects — expanded into a spiritual dimension upon encountering the symbolic image of the bird.

Lee Sanoh's practice originates from the moment of witnessing the death of a beloved. During a period when her artistic sensitivity to life and death was deepening, the artist began writing poetry as a way of reckoning with presence and absence. These self-written poems, set down in pencil, naturally extended into drawn works, and she found herself drawn into the sensation of pencil on paper — the way it rose like dry, crumbling smoke. Through material explorations of pencil and colored pencil, and across themes of life and death, flight and fall, what remained at the end of these life-cycle meditations was the bird as messenger. It is both an emissary connecting this world and the next, and a mediating presence that brings inspiration to the artist. The spiritual and mythological resonance of the bird, the aesthetic of symmetry visible in its structural form, and the texture and shape latent in the grain of its wings all evoke the balance that humans endlessly pursue, and the sensation of life's soaring and falling.

In ≪Fading, Rising≫, Lee Sanoh introduces verdigris — obtained by oxidizing copper — as a primary pigment. Copper is a biometal that quietly performs its role within the metabolism of living organisms, including humans, while simultaneously being a material that rusts over time. When pure red copper reacts with oxygen in the air and the surface turns a reddish-brown, the artist introduces an oxidizing agent to further corrode the copper, producing the blue-green hue of verdigris. Through repeated cycles of oxidation and corrosion — sanding the surface down and building up layers again — paintings in the traditional hwajodo (flower-and-bird) genre emerge: hills and trees suggestive of burial mounds, orioles and pasque flowers encountered by chance at her grandmother's cemetery. The verdigris spreading across the surface in blue-green — the actual elemental constituents of living things translated into the visual art of painting — functions as a medium through which creation and dissolution are made visible. Just as copper rusts and acquires new color, Lee Sano regards death not as an ending but as one stage within a cycle, imagining a world in which all that has disappeared continues to live on in other forms.

Tulsi Patel is a Tanzanian multidisciplinary artist working across painting, mixed media, and installation. Raised in Dar es Salaam, her early practice was grounded in realism, but over time she embraced experimentation — discovering beauty not as replication, but as revelation. Her work interrogates the fluidity of identity, memory, and human connection, celebrating intuition, imperfection, and the rhythms of collapse and renewal. She has exhibited widely, including at Rangi Gallery.

‘Munins’ or Munin Saiprasart (Born in 1988), stands as an acclaimed artist, writer, and illustrator with a reputation spanning over a decade. Her passion for comics ignited in childhood, kindling dreams of mastering the art of drawing. Life, however, took a detour as she pursued studies in the Faculty of Architecture at Khon Kaen University. Post-graduation, Munins redirected her path to pursue what she genuinely loved – cartoon drawing. Starting with grayscale graphic novels, she wove tales of diverse relationships, resonating with warmth, tenderness, and a touch of romance. 

Munins’s standout quality lies in her ability to breathe life into characters that communicate emotions and feelings so profoundly that readers are left feeling as if her creations exist in the tangible realm. This evokes a sense of attachment and connection, weaving an intricate bond between the audience and her characters. In addition to the captivating strokes that captivate the viewers, Munins is also a wordsmith extraordinaire, skillfully conveying both joy and sorrow simultaneously. This dual mastery has earned her a legion of book enthusiasts, propelling her to become a writer and illustrator with a Facebook following of over 600,000 avid fans. 
Embarking on a journey from the realms of comic writing, Munins made a foray into the fine arts scene in 2022 with the exhibition “B-Side” at Palette Art Space. Here, she showcased both digital works and NFTs. Following this, Munins continued to make waves with collective exhibitions like “Shall I Compare Thee to a Summer’s Day?” (2022) and “To the Moon and (Never) Back” (2023) at River City Bangkok. Her first solo exhibition “Blackout” (2024) that marked a significant turning point in Munins’s artistic career as she pushed her creative boundaries, crafting works that grew more daring and challenged her own artistic limits. Munins chose to narrate life stories and relationships in an unconventional, rare format, drawing directly from her own experiences. The predominant use of black, a color she once avoided for its stark clarity, added depth to her compositions. Additionally, Munins experimented with previously unexplored color palettes, coupled with a transformative shift in her creative process. Formerly centered on structured storytelling, her approach evolved into a form of liberated drawing, allowing emotions to guide lines and leading her into uncharted dimensions. Notably, many pieces in the exhibition emerged from Munins’s semi-conscious or blackout stages, aligning seamlessly with the very essence of the exhibition’ title. The Blackout exhibition has received an excellent response from viewers and collectors.


Evi Pangestu (b. 1992, Jakarta) is an Indonesian painter based in London. She started her formal training in painting at the Indonesian Institute of the Arts Yogyakarta, then moved to the UK to finish her undergraduate degree in Birmingham School of Art. In 2019, Evi received an MA in Painting from the Royal College of Art, London. 

Evi Pangestu’s artistic practice establishes a framework of control within the square and grid structures of painting, while simultaneously visualizing the rebellion that shakes those foundations. This exhibition aims to expand this narrative into the physical and psychological experiences of the audience, encouraging a ‘forced interaction’ with the artworks. The neon yellow highlights in Pangestu’s works serve as visual cues, reminding us of the potential for rebellion that lies beneath a seemingly stable facade and visualizing the vibrant energy that emerges from the cracks.

Fairuz Paisan (b. 1981, Malaysia), affectionately known as Po Oi in the Malaysian art scene, graduated with a Master’s degree in Fine Art and Technology from Mara University of Technology in 2014. Actively participating in numerous projects and exhibiting in seminal art exhibitions, Po Oi has gained recognition as an innovative voice in contemporary Malaysian sculpture. His work uniquely explores the organic form of the circle through materials such as wood and fiberglass, combining traditional craftsmanship with a modern Art Deco sensibility.

Through his dedication, Po Oi delves into the hidden complexities of the circular shape, which he sees as a pathway to uncovering deeper simplicity. His sculptures, from wall-mounted pieces to free-standing forms, are carefully constructed, blending fiberglass—symbolic of external beauty—and wood—to represent the underlying essence within. This approach invites viewers to reflect on the contrast between appearance and inner reality, leading them to a quiet, almost sacred center within each piece.

Not only are his pieces celebrated for their technical skill and elegant form, but they also reflect a subtle interplay with pop culture, capturing elements of movement and fluidity. Po Oi’s work is exhibited widely in Malaysia and has garnered acclaim in regional art fairs and galleries. Through his artistic exploration, Po Oi continues to enrich Malaysia's contemporary art scene, inspiring new perspectives on form, depth, and beauty in sculpture.

Billy Gibney has exhibited in New York, Norwich, London, Madrid, Milan, Melbourne, Sydney, Amsterdam, and Auckland, and he approaches existing objects and scenes not simply as subjects of representation but as “mediators” that condense narrative and memory over time. These mediators expand across a wide range of sources, including the artist’s personal photographs, film stills, online auction images, and privately owned objects and souvenirs. To foreground this mediating role, Gibney treats the surface of his paintings with materials such as glass powder and wax, which metaphorically evoke stones or fossils bearing traces of time. Through this material process, his images are endowed with a sense of historicity, durability, and permanence, and his paintings emerge as crystallized condensations of the forms and scenes through which he perceives the world—visual records that directly articulate the artist’s worldview.

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.

Kang Kang Hoon's portrait series not only captures external features but also delves into the deeper emotional essence of each subject, inviting viewers to confront their true selves. His daughter, a recurring motif, serves as both the focal point of the artwork and a reflection of Kang himself. In a recent oil painting series, Kang incorporates symbolic object cotton, inspired by a yearning for his recently deceased mother. The contrast between withered branches and bloomed cotton subtly conflicts and harmonizes, contemplating intergenerational connections. Employing cotton as a metaphor for the enduring connections within humanity, Kang explores broad themes of the past and future on the delicate realm between figuration and abstraction.
Major exhibitions featuring his works include the Jeju Museum of Art, Jeju; Wooyang Museum of Contemporary Art, Gyeongju; Clayarch Gimhae Museum, Gimhae; Gyeonggi Provincial Museum, Ansan; Jeju Museum of Contemporary Art, Jeju; Gyeongnam Art Museum, Changwon, and Seoul Museum of Art, Seoul. His works are in the collection of the National Museum of Modern and Contemporary Art. He has been featured and sold out at numerous art fairs worldwide, including Hong Kong, Singapore, and Shanghai, and he continues to remain active internationally as one of the most recognizable, leading artists in Korean contemporary art today. 


EUM Hyunchul studied hotel management in Switzerland and later majored in film in Korea. After working across film, advertising, music videos, and as an MTV Creative Director, he developed his own distinct way of observing and interpreting images through these diverse experiences.

For him, tufting is not simply a craft technique, but a way of transforming images and sensations into tangible surfaces. The repetitive hand movements, density, and subtle differences in texture become a method of constructing the surface like a painting, while at the same time revealing a strong sense of materiality similar to sculpture.

Pollawat Samidee, an artist from Silpakorn University, Faculty of Painting, Sculpture and Printmaking. He has re-ceived many awards, such as BEST INDIVIDUAL- MONTMARTRE GOLDEN BRUSH 2017, North Macedonia, and First Prize 20 17 International Art Festivals in Japan Polawat has participated in the group exhibitions Please to meet me (2023).The first solo exhibition with Number1gallery in the exhibition "IDENTITY?" (2023), and the second solo exhibition HABITUS (2024).

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Utopia 18-1

Utopia 18-2

Utopia 18-3

Utopia 18-4

Utopia 18-5

Utopia 18-6

Kim Yong-lk

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Floating people

Rolling in a Paint Can

Impregnating Me

Golden Jade Garden

Monologue 2

Monologue 816

Monologue 828

Monologue 727

Monologue 795

F$CK

INNER UNITY

Priced

Echoes of Grace

Quantum

Burn The Rain 009

Burn The Rain 008

Cotton Candy Stuck Between Branches

Monarch of Love

Monarch of Courage

Monarch of Liberty

Monarch of Peace

Monarch of Wisdom

Monarch of Revival

Monarch of Justice

Monarch of Beauty

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Rosso Protocol

Giallo Ignition

노인과 에펠탑

노인과 영웅들

내 딸의 자전거

쏠테면 쏴라!

극동에서 온 꽃

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항상 영광

마리린몬로와 나의 어머니 김정신 교회 권사님

빨강띠

파랑띠

KOREAN POP ART

우리 엄마 김정신 권사님이 가짜 꿀 만들면서 불렀던 찬송가 내주를 가까이

Artists