Alex Cho observes the subtle moments of mistranslations in his works. For him, these mistranslations are akin to off-pitch harmony or miscommunication that somehow makes sense. Information seems to overpower reality, appearing as translated or compressed surfaces. Amidst the current state of information overload, the artist seeks out gaps and errors that feel awkward. Using floaty drawing elements and a loose, painterly expression, the artist aims to react to and reassemble encountered information and events, creating new possibilities. The artist hopes to capture moments of awkwardness in these ambiguous spaces. His works resemble anti-humor jokes or awkward silences. The desire to go beyond information and drifting thoughts emerges on the surface of canvases as mistranslations, even if only superficially.

Park Kyung Ryul(b.1979) is based in Seoul, South Korea. Park received a B.F.A and a M.F.A in Fine Arts from Hongik University, and an M.F.A from Chelsea College of Arts. Park has held solo exhibitions at Baik Art Seoul (2024, Seoul), One and J. Gallery (2021, Seoul), DOOSAN Gallery New York(2020, New York), DOOSAN Gallery (2020, Seoul), Baik Art Seoul (2019, Seoul), and Lungley Gallery (2018, London). Park has also participated in group exhibitions at Buk-Seoul Museum of Art(2023, Seoul), Open Studio(2022, California), Perigee Gallery(2021, Seoul), Gyeonggi Museum of Modern Art (2020, Ansan), Ilmin Museum of Art (2019, Seoul), Mine Project (2019, Hong Kong), Beijing Commune (2019, Beijing), SongEun Art Space (2018, Seoul). Park was awarded the SongEun Art Excellence Award in 2018, and also participated in 18th Street Art center Residency, DOOSAN Residency New York, SeMA Nanji Residency and MMCA Residency Goyang.

Nuttiwut (1993) presents his artwork through the chaotic journey of his own life because these experiences are relatable to may people who may have never realized it. Also, he expresses his work to make fun of himself and the surrounding society, The artist has been creating works and exhibiting constantly. For example, “The Twelve Labours of Hercules” in 2018, “The Art of Survival” in 2019 and additionally he had joined group exhibitions such as “HUMAN-19” in 2020 and “The spirit of Six” in 2019 at Number1Gallery, Hotel Art Fair in 2024. Besides he had participated an international exhibition for instance “Art Expo Malaysia 2019” and Art Fair Philippines in 2020 , Art Busan 2024.


﻿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.

Park Mira observes emotions, exploring where they originate and what factors contribute to their
formation. While acknowledging that emotions are largely personal and subjective, she is interested in how emotions can be construed and interpreted within the context of society. She primarily works with black materials to carve out images and narratives that emerge in the space between consciousness and the unconscious.
She stages uncomfortable and discordant situations at the boundary between reality and the imaginary, exploring narrative structures that unfold simultaneously within the frame. She seeks to connect spaces, stories, consciousness, the unconscious, the virtual, and the real, using mediums such as drawing, animation, instalation, and painting.
Park Mira has held solo exhibitions including 《Pairing》 (2023, SeMA STORAGE), 《Interlude》 (2022, Art Space Boan 2), 《Walk In The Dark" (2020, A-Lounge), and 《The Waves at Night》 (2019, Gyeonggi
Museum of Modern Art Project Galery). She has also participated in group exhibitions such as 《Between Shot》(2023, Galery In HQ), 《Kaleidoscope》 (2022, A-Lounge), 《Over and Above》 (2022, DooNamJae ArtCenter), 《Mappin Memory: The Bunker》(2022, SeMA Bunker), 《Guide Mark》 (2021, Galery In), 《What if》 (2021, A-Lounge). In 2023, Park Mira was honored with the “Chongkundang Yesuljisang” and recognized as a “SeMA Emerging Artists &Curators” Park Mira is currently participating in a residency program at the Suwon Art Studio after completing residencies at the Gyeonggi Creation Center in Residency Program and the Cheong-ju Art Studio.

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).

While painting, LIM Nosik’s (b. 1989) body is embedded in everyday scenes. However, the psychological distance from which he looks at it is either closer or further than ordinary days. The subject of his recent work is a question about how to sense landscapes. It focuses on the individual's response to it as much as on the characteristics of the physical properties of a place. The Workroom (2023) is a series of paintings of the studio desk viewed from different times and directions, almost life-sized. The foggy, blurred screen depicts the appearance of weathered memories over time. It is an attempt to capture the world vibrating in the distance of time and space by visualizing the layer of air placed between the landscape, canvas, and himself.




LIM Nosik was born in Seoul, Korea, in 1989. He received his BFA in Oriental Painting at Hongik University in 2015, and MFA in Fine Arts, School of Visual Arts at Korea National University of Arts in 2017. He has held solo exhibitions at various institutions such as Kumho Museum of Art (Seoul, Korea, 2023), Project Space SARUBIA (Seoul, Korea, 2023), Window Gallery, Incheon Art Platform (Incheon, Korea, 2020), Artspace Boan 2 (Seoul, Korea, 2020) and Hapjungjigu (Seoul, Korea, 2017), as well as group exhibitions held at ARARIOGALLERY SEOUL (Seoul, Korea, 2024), SongEun (Seoul, Korea, 2023), Ilmin Museum of Art (Seoul, Korea, 2023), Art Center White Block (Seoul, Korea, 2022), SFAC Seoul Art Space Geumcheon (Seoul, Korea, 2021), Amado Art Space (Seoul, Korea, 2020), and more. The artist gained attention for being selected in the Kumho Museum of Art and Kumho Young Artist 2022. He was the artist-in-residence at the SeMA Nanji Residency (Seoul, Korea) in 2019, and also was the artist-in-residence at the SFAC Seoul Art Space Geumcheon (Seoul, Korea) in 2021. His works are collected by institutions such as the National Museum of Modern and Contemporary Art’s Art Bank, Gyeonggi Museum of Modern Art, Ilmin Museum of Art, and more.

A key member of first Dada and then Surrealism in Europe in the 1910s and 1920s, Max Ernst used a variety of mediums—painting, collage, printmaking, sculpture, and various unconventional drawing methods—to give visual form to both personal memory and collective myth. By combining illusionistic technique with a cut-and-paste logic, he made the incredible believable, expressing disjunctions of the mind and shocks of societal upheavals with unsettling clarity.

He explores the ways in which events and objects with fragile qualities are transformed into paintings that project his view of the world. The paintings, created by transferring the shapes of intuitive and impulsive trajectories to the canvas, coloring them, and superimposing sketch lines that go back in time, reflect the site of the artist’s body’s vital encounter with and understanding of the world. The shapes formed by the jagged, impulsive trajectories are glazed and clumsy, but there is a recollected sincerity behind their appearance.

The artist creates drawings on the fly, collecting and reinterpreting ideas from objects. He has seen closely or encountered by chance. He perceives the paper or canvas, the support for recording the trajectory, only in his peripheral vision and draws according to the impulsive rhythm of his hand, or he chooses visual isolation, not looking at the support at all. Relying on guesswork and sensation to capture shapes, the recorded objects become the sketches for the paintings, with their fuzzy shapes. Freed from the desire to reproduce the surface of the object, this act aims to truthfully record the indeterminacy and ambiguity of the body’s impulsiveness. The lines thus drawn help me to focus on the abstract fragments of the events encountered and the elements of the painting.

The brushstrokes that apply oil pigment to the drawing’s shapes move and lay out the color plane based on the direction of the drawing strokes, such as where they are applied with pressure and the rhythm of the line. In this process, the drawing outline inevitably becomes embedded in the pigment of the oil painting, which is then scratched out again with a pencil or re-emphasized with a darker brush, preserving the past trajectory as a final image. The forms maintained by the dense outlines create the appearance of a solid exoskeleton that blocks intervention from the outside, but the gaps between lines and lines become a fragile exoskeleton that allows for contact with the outside. In Jang’s paintings, the viewer’s gaze is actively invited to penetrate through the gaps in the outline, just as bacteria penetrates through the gaps in an exoskeleton, creating a field of interaction with the artist’s paintings. This phenomenon is not only the artist’s way of being in a world with complex causal relationships, but also the embodiment of the artist’s attitude toward such a world.

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.

Jaehyuk Han creates new forms of painting by transforming traditional Eastern materials like Hanji and Hwasunji into his unique visual language. His work deconstructs and reconfigures familiar elements, generating unfamiliar images that provoke deep reflection. Through this process of transformation, Han invites dialogue with the inner self, opening pathways to new possibilities and creative potential.

Hwasu Yoo, born in 1989 in Busan, graduated from the College of Arts at Dankook University and the Graduate School of Painting at Kookmin University. She has participated in five solo exhibitions and numerous group shows, expanding her international presence through major art fairs in Singapore, Hong Kong, and China.
Hwasu Yoo conceived her "Unrealistic Space" series from the anxiety and desire for stability stemming from repetitive daily life, habitual actions, and irrational situations. She transforms feelings and images based on experiences or the real world into collages on square or circular canvases, incorporating oil paint and fabric objects to create an unrealistic "virtual world." The artworks prominently feature flowers, horses, and children, with the children symbolizing freedom as they collect words from floating horses that travel for play. The horses disguise themselves within their surroundings, avoiding capture. Through the acts of "drawing" and adding "fabric objects," the artist creates imaginative spaces where exhausted figures, masked as boys and girls, seek playfulness, reflecting her unique narrative towards a utopia.

Instead of waiting for a moment of inspiration, Nature Haan has continued to work, focusing on the landscape and emotions surrounding him. Since majoring in Western Painting at Seoul National University, he has shown a variety of artworks that capture the artist's daily life in their respective fields in different ways. Beginning in 2016, “Receipt Work” is based on receipts, a common material of daily life, and the objective text is gradually erased, leaving just the image of the moment, which is presented to the audience as a daily record. The artist aspires to become an unostentatious artist in the future, who communicates with the audience through works that show his own self.

Phichai Keawvichit (b. 1975) is a talented photographer characterized by his minimalist photography of architecture, gaining a reputation from his Instagram with 80,000 followers and interview articles by several media. He presented many photography exhibitions in several locally famous photo galleries such as Accidentally Professional Exhibition (2019) in Silpa Bhirasri’s House, Unlock solo exhibition in 2019 at River City Bangkok, Urban Progress group exhibition in 2021 at Bangkok Art & Culture Centre, and this latest one The Memoir of Movement in 2022 at River City Bangkok is regarded as his second solo exhibition. Aside from photography, Phichai loves writing to share his insightful stories. He is currently the ‘Ekaphab’ columnist publishing his articles in Matichon Weekly.


Sasha Yazov (b. 2000, Kaliningrad) is the young artist whose primary interest is in the gaming world. His point of reference is popular video games from the early 2000s. He uses gamepJay as an opportunity to make a screenshot of a uniquely created situation inside the game, and this becomes a painting. Using airbrush and stencils in the process, Yazov achieves a maximum likeness to the digital aesthetics, taking us back to a period of time when computer game culture was at its prime, and the internet still seemed a platform of freedom and unprecedented opportunity for everyone. 

Jaeun Jeon explores the meaning of “place” that exists beyond the visible, drawing from personal memory and sensory experience. Her work gently accumulates layers of time and landscape that are difficult to capture through language, revealing them through painting and mixed media. Textile and sewing elements, in particular, function not merely as materials but as a means of connecting past and present, adding a warm and organic dimension to her practice.

Rooted in autobiographical memory, her works incorporate spatial structures such as stairs and yards, linking personal experience with universal emotions. Through this approach, Jeon softly invites viewers to reconsider familiar places in everyday life from a renewed and contemplative perspective.

Inae Shin paints the subtle tension that arises between figures sharing the same space—the flow of gazes exchanged just before anything happens. With faces often turned away or partly hidden, she conveys each figure's sensitivity through posture, gesture, and the direction of a glance, inviting viewers to read the scene through their own eyes. Currently based in Hamburg, Shin has recently turned her attention to invisible forces like wind, depicting figures, animals, and landscapes swaying together within a single flow.

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.

Jeon Eun-jin was born in Ulsan, South Korea, and studied both her B.F.A. and M.F.A. in Painting from Hongik University. She develops her work while moving across various regions in Korea. Her work involves reconstructing the sensory experiences of landscapes—encountered up close and personally embodied—onto a canvas.
Her paintings reconstruct the scenes and atmospheres of unfamiliar places that she has collected during her walks. She prefers the sensation of the “unfamiliar–raw–clumsy” to the “familiar–mature–skilled.” Rather than brushing and refining objects to perfection, she often favors expressions that are immediate, candid, and even unfinished. she tends to contemplate the idea for a long time, but executes the painting in a short burst—lightly applying paint to the canvas.
Her key interest lies in capturing the moment when something familiar suddenly feels strange. Recently, she has begun collecting scenes that can only be encountered in the dark, continuing her exploration of the many expressions of “darkness.”


Leng Guangmin was born in Qingzhou, Shandong, in 1986. During studies in the department of oil paintings at Tianjin Academy of Fine Arts, Leng spontaneously explored his path to break the traditional paradigm of oil painting creation and became one of the most significant painting artists of the 80s generation. In contrast to accumulated paints and strokes, he chose to open a  brand-new physical space in the image with the movement of slicing. Slicing is not only his creative method but also his attitude toward art, which is keen, determined, and resolute. With relatively consistent painting skills, the artist keeps dissecting materials and images guided by some clues but has no clear themes. The ubiquitous tension formed by confrontations, the opposing but complementary colors, the level and scraped materials, the hard-edged and gradient textures, and the conformal and negative structures are the incomparable attractions of his paintings. They enable the artist to refine the inner order behind the numerous and complicated objects, which can be manifested with images only in a highly abstract and endlessly changing state. His critical solo exhibitions include: "Shell, like the wings of a cicada", MAHO KUBOTA GALLERY, Tokyo, Japan, 2023; Personal Project at West Bund Art & Design Fair, Shanghai, China, 2019; "Ripples", MAHO KUBOTA GALLERY, Tokyo, Japan, 2018;Leng Guangmin: Perfect Destruction, Hive Center for Contemporary Art, Beijing, China, 2017; Leng Guangmin: Hive Center for Contemporary Art, Beijing, China, 2014; Hive · Becoming II, See the Appearance: The Solo Exhibition of Leng Guangmin, Hive Center for Contemporary Art, Beijing, China, 2013 and so on.

Through meticulously balanced images that encourage prolonged attention, Sugimoto’s work focuses audience consideration on the ways in which humanity makes sense of itself. Sugimoto moved to Los Angeles in 1971, receiving his BFA from the Art Center College of Design in 1972. In 1974, he moved to New York, and became involved in the Minimal and Conceptual art scenes of the late 1970s. His best-known series, including Dioramas, Theaters, Seascapes, Portraits, Architecture, Conceptual Forms, and Lightning Fields draw heavily upon repetition, unifying disparate locations through shared compositions, and are characterized by use of long exposures, black and white film, and analog processes. In recent years, Sugimoto has begun to design architectural spaces that, like his photographs, use simplicity of form to focus attention on the mechanisms through which we understand the world.  

Sugimoto has had solo exhibitions at the National Museum of Contemporary Art in Osaka (1989), the Museum of Contemporary Art in Los Angeles (1994), San Francisco Museum of Modern Art (2000), the Guggenheim Museum Bilbao and the Neue Nationalgalerie in Berlin (2008), among many other venues. He has received many honors, including the Praemium Imperiale Award for Painting, Tokyo in 2009 and Officier de L’ordre des Arts et des Lettres, in Paris in 2013. In 2017, he was honored as a Person of Cultural Merit in Tokyo. His photographs are in the collections of the Metropolitan Museum of Art, New York; Museum of Modern Art, New York; National Gallery of Art, Washington, DC; San Francisco Museum of Modern Art; Tate Gallery, London; and many others.

Floating Selves, a Solidarity of Resonance
I do not trust the notion of a fixed self. Although the self is often defined in psychology as a unique and coherent identity, such a concept is fundamentally insufficient to capture the complexity and fluidity of the human inner world. Within the rapidly shifting currents of contemporary society, modern identity is continuously dismantled and dispersed, leaving us to drift through the world without a clear outline. In this process, fragile emotions are frequently fragmented, and coherent temporality and narrative lose their boundaries, often becoming powerless. Thus, the core and backdrop of my work is the visualization of the process through which incomplete beings of our time gather their own fragments—a “psychological safe zone.”
This psychological safe zone is not a simple refuge where all pain and conflict are resolved, nor a complete utopia. Rather, it is a place where beings that remain incomplete choose confrontation over avoidance, flow over closure, and bear their own rhythms as they pause, exploring transformation and recovery.

This space is realized as an unfamiliar and heterogeneous landscape inhabited primarily by anomalous life forms. These settings are not actual places but multidimensional spaces onto which inner sensations are projected—complex structures in which memory and imagination, fear and desire, are interwoven. The beings that appear possess organic, hybrid forms and identities that are never fixed. Figures wearing animal masks, unfamiliar beasts, and winged mammals all symbolize the fragmentation and reassembly of the self, actively driving their own narratives. Rather than isolating and defending themselves from the external world, they form spaces as open fields of relation where emotions and existence connect. Within these spaces, the self is once again experimented with, and resonance aligns itself with reality in solidarity.

The beings that appear in the work carry no fixed meanings. They are less identities than possibilities of identity, or states that the artist senses within lived reality. Through these scenes, the viewer is invited not to find comfort or definitive meaning, but to enter an unstable condition reliant on sensation. Selves pass through intermediate points toward a more complete form of being. This is not a process of healing but of individuation—a provisional space that allows one to form personal boundaries through resonance with the surrounding world. This space does not seek to establish a private order, but to explore the very possibility of order itself. It is always precarious. Yet it is precisely within this precarity that the hope emerges that the self may finally be contemplated.
“How far did the boundary extend before complete collapse, and in what form might it be rebuilt?”
The work offers no clear answers. Instead, within landscapes that hold this question, beings continue to move and transform. I remain within this space.

For Moonhee Cho, the series of photographic works are both a process and a result of pusing ‘resemble’. ‘Resemble’ creates a gap skimmed from reality, making one revisit the place glimpsed at first sight. The landscape that was once passed by reveals a dramatic presence in a form that was never reached, even in places that were numb, different from the afterimage left in the mind. Following the image in the landscape, she visualizes the conflict stemming from ‘resemblance’.

Bo Kim (b. 1994) is an artist currently based in South Korea, who earned a degree in Painting (BFA) from the Rhode Island School of Design (RISD) in the United States. Bo explores the aesthetics of “impermanence” observed in the gap between nature and humanity. Based on the understanding that all relationships—among humans, nature, and objects—exist in a constant state of flux rather than permanence, the artist visualizes specific moments while embracing the passage of time. Similar to journaling a significant day, Bo translates personal memories and thoughts into her work. This creative act can be seen as an attempt to remember, record, and deeply embody the form and meaning inherent in fleeting moments within the flow of time. In this process, Bo utilizes materials from nature such as sand, hanji (traditional Korean paper), and flowers. For Bo, the act of creation is not merely about making something; rather, it is a process of sensing and understanding the impermanent nature of time that transcends both nature and humanity through these natural materials.

An artist who uses the domestic realm in her work as a starting point for discussing broader matters such as the domestication of women’s politics, authoritarianism and fascism, patriarchy and capitalism, which are still there and have been her concern. 

Dian Suci often displays her work with an awareness of space, depicts body experiences, and plays the composition of objects as metaphors of what she really wants to convey. Dian uses a variety of media for her works, including installations, paintings and videos. 