TEMPORARYWEST began in 2018 as a collaboration among a group of street artists who came together to organize community-based activities in the hometown of Y?, Bang Saphan District, Prachuap Khiri Khan Province.

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.

JiYoon Jeong practice centres on the translation of collected photographic images into painterly language, with a particular focus on their sensory and formal qualities. Found images sourced from the web serve as primary materials—not for the narratives they might suggest, but for their compositional elements. The artist is drawn to the pose, expression, and condition of the subjects captured, rather than the emotions, memories, or stories the photographs might traditionally convey.

In this context, the use of anonymous, found imagery becomes a deliberate choice, reflecting the artist’s commitment to the formal and structural aspects of painting. The application of a monochromatic palette further heightens this approach. By stripping away the original colours, the work distances itself from the photographic source, shifting the image into a realm of interpretive possibility. This intentional abstraction allows for multiple readings, embodying the artist’s belief that painting need not impose a singular narrative.

Many of the works are concluded through the act of dripping paint—a final gesture that reaffirms the painting’s identity as a tactile, expressive medium rather than a representational one. Through this method, the artist invites viewers to engage with the image not as a reproduction, but as a painterly construction, imbued with the autonomy and ambiguity that define the medium itself.

Phatcharaphan Raiva is a graduate of Chulalongkorn University’s Faculty of Fine Arts and Applied Arts.
Phatcha’s career as an artist has grown exponentially since her graduation in 2008. Her father, an artist, has had a great influence on her work. After a very successful solo exhibition in 2014, she participated in the 2nd International Watercolor Competition in Thessaloniki, Greece.
Since then, she has participated in many international watercolor exhibitions and biennials, including the 1st International Watercolor Biennial 2016 in Hong Kong and the 2nd International Watercolor Biennial 2017 in Tirana, Albania.

Director Jacq / Wayn Traub (Brussels, 1972), is a visionary Belgian artist whose practice dissolves the boundaries between film, theatre, textile art, and sacred ritual. His work is driven by a pursuit of “Total Art”, a seamless, immersive fusion of image, sound, and lived experience.
Director Jacq holds a Master’s degree in Film Directing and Art History. His career began in visual arts, with early explorations in video and intricate hand-embroidered textiles, before evolving into groundbreaking stage direction. From 2004 to 2012, he served as Artistic Director at institutions including Bourla Opera in Antwerp and Le Théâtre de la Ville in Paris, collaborating with icons such as Jane Birkin and Alejandro Jodorowsky.
Since 2012, Director Jacq has been based in Thailand, where his focus has returned profoundly to the material and narrative possibilities of textile. Here, he creates his monumental hand-embroidered copes—each requiring four to five months of meticulous stitching on traditional Thai fabrics—weaving personal mythology into devotional objects.

He is internationally celebrated as the pioneer of “Cinema Opera,” a form of multidisciplinary ritual theater that transforms the stage into a space of communal initiation. In Director Jacq’s philosophy, art is not merely observed but entered, felt, and lived, an act of spiritual awakening and transformation.


Beyond his studio practice, Director Jacq is an avid curator, collector, and cultural catalyst, collaborating with museums such as S.M.A.K. in Belgium and MOCA Bangkok. His multidisciplinary vision continues to expand, always seeking the point where craftsmanship, cinema, and ceremony become one.

Hime was born in Osaka, Japan in 1986. 
From 2004 to 2007, he studied in the Comic Art Course at the Faculty of Manga, Kyoto Seika University. In 2008, Hime entered the fashion industry and embarked on his journey as a fashion photographer. In 2013, he moved to the United States for foreign brand shoots and returned to Tokyo the following year. Starting from 2019, he also pursued a freelance career as a digital illustrator, including clothing prints, music album covers, live performance and pop-up event posters. In late 2020, Hime painted his first artwork using acrylic on canvas, which was exhibited at artKYOTO, marking the beginning of his artist career. His works mainly feature women with an 80s aesthetic and have garnered widespread attention, making him a highly acclaimed artist.

Yan Lei (b. 1965, Hebei, China) graduated from the Zhejiang Academy of Fine Arts (now known as the China Academy of Art) in Hangzhou in 1991. Yan is a singular and unconventional figure in the Chinese contemporary art world. Adopting an independent and distant attitude, he explores and
unveils different issues, such as power relationships, competition or the closeness of values and prices that exist in the art system through various media including painting, sculpture, installation, video, and performance. His works often incorporate multiple and contradictory values. This
ambiguousness shows, on the one hand, the artist’s alertness to and reflection on the various problems in art making today and, on the other hand, the solitude that he feels from being part of the system and his complex feelings confronted with vulgar reality.

Boonhlue Yangsouy has created exquisitely aesthetic and individual arts. He has participated many group and solo exhibitions. “Behavior = Identity” 2015, “Lady and Chandelier” 2017, “Love Is” 2019, “The Spirit of Six” 2019 and international stages including Art Expo Malaysia Plus 2017, Art Central Hong Kong 2019, Art Expo Malaysia 2019, Art Fair Philippines 2020, ART CENTRAL 2023 , ART CENTRAL 2024 and Art Busan 2023.


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.


NOH Sangho (b. 1986) is a natural born storyteller, sincere practitioner and bold experimenter. Browsing the Internet and social media daily, the artist diligently collects myriad images of the day to day. NOH reconstructs the fragments selected from an array of images onto carbon paper, which is a medium that represents him as an artist. The works, executed on carbon paper, reveal the artist’s unique perspective on the flexibility of the “image” in the digital era, defined by a flood of images that travel and transform freely across platforms. Furthermore, in an attempt to expand the theme of his work to realizing the three-dimensionality of images, the artist introduces a series of works in which 2D planes and 3D moving images are intertwined organically. NOH, who considers the manner in which his works are presented and consumed to be an essential part of his practice, explores various bold and experimental ways of installation, such as largescale wall hangings and drawings on hangers—reminiscent of a clothing store.


NOH Sangho was born in Seoul, Korea, in 1986. He received his BFA in Printmaking at Hongik University in 2013, and MFA in Fine Arts at Seoul National University of Science & Technology in 2022. He has held solo exhibitions at various institutions such as ARARIO GALLERY SEOUL (Seoul, Korea, 2024), ARARIO GALLERY SHANGHAI (Shanghai, China, 2023), ARARIO MUSEUM in SPACE (Seoul, Korea, 2018), SongEun ArtCube (Seoul, Korea, 2017), and SeMA West Warehouse (Seoul, Korea, 2016), as well as group exhibitions held at Ilmin Museum of Art (Seoul, Korea, 2023; 2018), ARARIO GALLERY SEOUL (Seoul, Korea, 2023; 2021; 2016), Isetan The Space (Tokyo, Japan, 2022), ARARIO GALLERY CHEONAN (Cheonan, Korea, 2021), Atelier Hermès (Seoul, Korea, 2020), Daegu Art Museum (Daegu, Korea, 2019), SongEun ArtSpace (Seoul, Korea, 2018), Kumho Museum of Art (Seoul, Korea, 2017), National Museum of Modern and Contemporary Art (Gwacheon, Korea, 2017; 2014), and more. The artist gained attention for being selected in the National Museum of Modern and Contemporary Art's Young Exploration 2014. He was the artist-in-residence at the SeMA Nanji Residency (Seoul, Korea) in 2015, and also participated in an artist residency exchange program between Hungary and Korea (Budapest, Hungary) in 2016. He won the Lee Sang Wook Prize (Korean Contemporary Printmakers Association, Korea) in 2016. His works are collected by institutions such as the National Museum of Modern and Contemporary Art’s Government Art Bank, Koo House Museum, ARARIO MUSEUM, and more.

Eunju Jeong is an abstract artist currently living and working in Daegu, South Korea. After graduating from a Masters degree in Western Painting at Kyemyung University, Eunju Jeong studied abroad at HBK Braunschweig in Germany, where she reached a deeper dimension in her color surface abstract paintings through a calm and stable exploration of the feelings and sensations of color. The artist focuses on expressing her inner flow through various colors that surface the canvas, and has had numerous solo and group exhibitions in various cities at home and abroad (need the names), working both on various flat works and semi-cubic sculptures. For over 30 years, Jeong's work has gone through a process of transformation, from painting to semi-cubic abstraction on acrylic and wooden boards, to a return to painting on canvas. To this day, she continues to work on imagining, contemplating, and dreaming through material and physical attributes, while evoking the emotional and tangible, as well as sensing what cannot be verbalized, codified, or most importantly, reproduced. Jeong's paintings are similar in appearance to chromatic abstraction through the  paint smears, brushstrokes, layers of color, the subtle spaces and crevices they create, the trajectory of the paint as it flows toward the floor by the law of gravity, and the way it smears and solidifies. It also allows us to see the myriad traces of the painting's progress and the passage of time that reveals all of its processes. These dense, wet paintings, with their cool, bold brushstrokes, are at once highly performative and a longing for a representation of a world that cannot be represented, a world that lies outside of visibility but is clearly felt and sensed. At the same time, they are paintings with impressions and tones that evoke a very specific empathy with the beautiful nature.

Mille Miglia, Italy, is where classic car racing developed to its peak. 
To the city museum of the town, vehicle painter Tomohiro Todoroki was the first Asian artist who held his solo exhibition there.Todoroki's work is also in the collection of the National Automobile Museum in Italy.
He lovingly depicts local toys that reflect local legends and beliefs and have been loved for years, with wishes for protecting people from bad luck and prosperity of offspring.

Sujin Lee captures the quiet, psychological unease embedded in the everyday. Borrowing emotionally neutral imagery—film stills, mundane objects, and diagrammatic forms—she turns them into compositional experiments that probe the instability of feeling. By revealing only fragments of the human figure or treating still life as a kind of portrait, Lee transforms personal experience into a shared sensibility. Her paintings balance tension and stillness, strangeness and calm. In her work, anxiety becomes not a singular emotion but a medium for painterly exploration, reframing how emotion itself can be seen and understood.

WAL, Wal Chirachaisakul (born in 1991) is an artist of oil paintings, printmaker, and a trailblazer in the art scene for a decade. Emerging from a family deeply passionate about the business of playthings, WAL found unwavering support and genuine enthusiasm for art within his family, which has been a constant pillar throughout his artistic journey. Starting his artistic exploration at College of Fine Arts , WAL later pursued advanced studies in the Department of Painting, specializing in printmaking, at Silpakorn University. During his academic pursuits, WA;L’s artistic prowess shone through, earning him prestigious awards, notably clinching the championship in Mezzotint art competitions both domestically and internationally, spanning Japan, Russia, Canada, and more.

Eun Lee is a visual artist who captures the quiet wonder found in everyday landscapes. Inspired by ordinary moments such as grass moving in the wind or subtle shifts in natural light, her paintings begin with familiar scenes and gradually guide the viewer into spaces where the boundaries of reality begin to soften. Her work exists in a place where what is real and what is imagined gently overlap, inviting moments of reflection and emotional depth.
Rather than aiming to reproduce nature exactly as it appears, Lee focuses on its quiet contradictions. She often combines elements that do not typically appear together, such as vegetation from different climates or light that could belong to either sunrise or sunset. These thoughtful combinations create a gentle sense of disorientation, encouraging the viewer to step into a space that feels both real and dreamlike.
Lee’s paintings are deeply personal and shaped by her own memories and experiences. She describes them as variations of time and stories she has lived. Although the work is rooted in her own life, it speaks in a language that others can understand and relate to. Her landscapes become open spaces where viewers may recognize something of their own inner world.
A central idea in her practice is the creation of a safe and protective space within the painted scene. Each work offers a moment of pause, away from the urgency and unpredictability of daily life. These are spaces of protection, offering both the artist and the viewer a chance to rest, observe, and feel at ease. In this way, her paintings become more than visual expressions. They become emotional environments that invite peace and contemplation.
Eun Lee is a visual artist who captures the quiet wonder found in everyday landscapes. Inspired by ordinary moments such as grass moving in the wind or subtle shifts in natural light, her paintings begin with familiar scenes and gradually guide the viewer into spaces where the boundaries of reality begin to soften. Her work exists in a place where what is real and what is imagined gently overlap, inviting moments of reflection and emotional depth.
Rather than aiming to reproduce nature exactly as it appears, Lee focuses on its quiet contradictions. She often combines elements that do not typically appear together, such as vegetation from different climates or light that could belong to either sunrise or sunset. These thoughtful combinations create a gentle sense of disorientation, encouraging the viewer to step into a space that feels both real and dreamlike.
Lee’s paintings are deeply personal and shaped by her own memories and experiences. She describes them as variations of time and stories she has lived. Although the work is rooted in her own life, it speaks in a language that others can understand and relate to. Her landscapes become open spaces where viewers may recognize something of their own inner world.
A central idea in her practice is the creation of a safe and protective space withi

Tat or Nattee Sujithara was born in Bangkok in 1983. He received a Bachelor Degree of Fine Arts in Painting from Chiang Mai University in 2006. After graduation, he opened a solo exhibition ‘Color of Life’ at Neilson Hays Library in Bangkok in 2009. He later took on many portraiture and illustration projects, and also worked on ideas for next exhibitions. With more experiences in an art world, he decided to be a full-time professional artist and opened his second solo exhibition ‘Circle of Thought’ at The Meeting Room Art Gallery in 2019. He received the Triennale Prize in Drawing Category from the 5th Bangkok Triennale International Print and Drawing Exhibition, at Bangkok Art & Culture Centre in Bangkok. He currently works and resides with his family in Chiang Mai. 


Based on an interest in 'how a wishing heart manifests in daily life,' Seokwoo Chung visualizes the energy emitted when a being strives toward something. He is fascinated by the flow of consciousness formed from cause and effect, and by the culture of wishes permeating the mundane. Drawing inspiration from the fundamental cultures of various religions, his current work extends the realm of the canvas by basing it on painting and incorporating installations in space. He implements a device that amplifies the characteristics of each, by going through various processes with painting works that correspond to the nature of specific spaces or places.

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