Lee Koz, through her artwork, delivers a deep contemplation on profound themes. The boundaries between memory and dreams, and the translational gaps and accompanying confusion that emerge from these boundaries, are experiences many people encounter but find difficult to articulate clearly. The artist attempts to represent these intricate concepts through her paintings. She explores how techniques evolve between the history of representation and the desire for documentation. Reproduction raises questions about what and how we remember, and these questions play a central role in a artist's creations. Lee Koz communicates his unique perspective on memory, dreams, and the spaces in between through her art. By addressing these topics, she connects with the lives of all, providing an opportunity for deeper thought and self-reflection.

Kim Yong-il explores childhood memories and collective emotions through the recurring motif of the house. Depicting villages, homes, and fragments of everyday life, his paintings evoke the fading traces of lived experiences. For the artist, the house is not merely an architectural structure but a symbolic space where personal memories intersect with shared communal narratives.
Kim’s work unfolds through two visual narratives: the “stories of day” and the “stories of night.” The former presents luminous scenes of houses and fields bathed in sunlight, recalling the vitality and warmth of childhood memories. The latter introduces a quieter and more contemplative atmosphere, shaped by the imagery of moonlight and seolbap—snow that falls around the Lunar New Year. Together, these two modes traverse different layers of time and recollection, expanding personal memory into a shared emotional landscape.
Charcoal plays a crucial role particularly in the “night” series. The material, reminiscent of the charcoal the artist once played with as a child, becomes a medium for recalling memory. By covering the canvas with charcoal and then scraping it away, Kim creates subtle tonal gradations that suggest memories fading or intensifying over time. This process produces a calm atmosphere and generous areas of empty space that invite viewers to project their own recollections into the work.
Rather than merely depicting landscapes, Kim Yong-il’s paintings function as devices that recall disappearing traces of life and communal memory. The expansive blank spaces within his compositions allow the viewer’s memories to enter the work, transforming the artist’s personal narrative into a shared story of nostalgia, empathy, and quiet reflection.

Anouk Lamm Anouk is ar=s=c prac=ce spans pain=ng, drawing, sculpture, installa=on, and wri=ng. Their manifesto claims: “No Age, No Gender, No Origin”, or as they say: “I am no one I am nothing” which could be a reference to their embedment in Zen Buddhism. Anouk iden=fies as trans-non-binary and by virtue of this and living as a Person with au=sm, it is crucial to them to rid themselves of the external a`ribu=ons and labels that come from norma=ve society in order both to see and encounter others without the violence of classifica=on and an=cipa=on, to be truly open.
The star=ng point of their pain=ngs is the raw linen, the canvases itself is crucial. The unprimed frontside of the linen is a living part of their works and becomes a connec=ng visual element across several series. Their colour pale`e is strictly limited, most oDen to earthy colours, hues of black and off-white are also present; reduc=on is key. Anouk works both in series and independently of series – some pain=ngs are solely abstract, while others are predominantly figura=ve – all of which is connected by unique handwri=ng and gestural strokes. Text or text fragments are also part of their prac=ces. The texts are inten=onally unobtrusive, some=mes they require viewers to look for them. These give a hint or raise ques=ons.
In their work, Anouk returns to certain mo=fs, beings, and rhythms, which they unite together into a singular, holis=c cosmos, with the aim of conjuring peaceful spaces for contempla=on with a strong undercurrent of desire. This can be seen in their mostly figura=ve representa=ons in the “Lesbian Jazz” series, which features abstract symbols and mo=fs embedded next to naked bodies. The bodies on the canvas are oDen female or non-binary, some=mes sexless, and always anonymous. Faces or facial expressions are rare and usually leD out, because “Lesbian Jazz” portrays above all iden=ty, a lifestyle, a community, and not individualised portraits. Their ar=s=c prac=ce emerges from the urgent need for queer visibility in a world rife with discrimina=on, and their pain=ngs explore the visual languages of fluid iden=ty and body as they are coded and re-coded within society.

Antony Micallef (b. 1975, Swindon, UK) is a British contemporary artist working in London. He was notably taught by the austere landscape painter John Virtue, who was taught by the postwar painter Frank Auerbach.
Described as a modern expressionist, Micallef roots his work in social commentary and self-examination. Known for his visually charged figure paintings, he uses oil paint in a groundbreaking way; he is able to literally sculpt and form the paint to reconfigure the parameters of what an oil
painting can be. Combined with his impasto and layering techniques, the oil paint is pushed to its extreme and blurs our reading of painting and sculpture.
Micallef’s recent paintings are created using these unique methods where the oil is changed into a material to realise a new form of physical embodiment.

Doyo is a collage artist that focuses mostly on album cover design, print artwork, and art directing. The artist who became interested in collage work in 2016, studies Photoshop by himself and combines every item to communicate imagination and romance. Through the artist's unique use of colour and atmosphere, conveys to modern people the romance and relaxation of daily life.

Ian Ha (b.1997)aims to explore various possibilities of spatial illusions on flat surfaces by irregularly editing various materials and arbitrary subjects. Everyday objects, commonly seen in Ian Ha’s work, are dissected and rearranged by the artist, blurring the boundaries between painting and reality, while posing questions about the reality itself. This reflects the artist’s attempt to reproduce the contemporary phenomenon of desensitization to the flood of random information and images that are often not easy to filter or control, and also reflects the artist’s contemplation on how two dimensional art can be convinced in a technologically advanced society where the gap between virtual space and reality is gradually narrowing.
Ian Ha has B.F.A. in Seoul National University and is a candidate for M.F.A. in Columbia University School of Visual Arts. His solo exhibitions include Shifts and Echoes, Fragment Gallery, New York (2023); The Uncanny, Rabbit and Tiger Gallery, Seoul (2022). The artist also participated in group exhibitions such as in media res, The Blanc Gallery, New York (2023); Standouts, Fredric Snitzer Gallery, Miami (2023); Trajectory of Time, Space U, Bundang (2022).

Arin Rungjang is known for deftly revisiting historical material, overlapping major and minor narratives across multiple times, places, and languages.

Born in Schwerte, Germany, in 1952, she studied at the Werkkunstschule in Cologne and became one of the first artists to exhibit at the Monika Sprüth Gallery, well-known for presenting only female artists. She is a professor at the Kunstakademie Düsseldorf, in Nordrhein-Westfalen. Trockel’s early works include the series Knitted Paintings (1985), created using machine-knitted fabrics stretched over canvases. In these woolen canvases, Trockel depicts generic computer-generated imagery and, in some cases, particular historical iconography such as a Soviet worker with a hammer and sickle.
The artist continues to work in a wide variety of media and genres, including the creation of living sculptures from garden elements as in Less Sauvages than Others (2006). Rosemarie Trockel has received numerous awards, including the Wolf Prize in Arts in 2011 and the Roswitha Haftmann Prize in 2014. She has exhibited extensively worldwide: in 2012 her work was presented at the New Museum in New York in a retrospective organized by the Reina Sofia in Madrid, that traveled to the Serpentine Gallery in London the following year. In 2018, the Moderna Museet in Stockholm mounted a solo show of her work. Trockel is the first woman to represent Germany in its national pavilion at the 1999 Venice Biennale, and continues to exhibit internationally.

Hansol Noh shows an interest in the impact of the diverse meanings and information that have been conveniently defined around us on our thoughts. She connects these concepts with language and focuses on painting, primarily utilizing Korean painting media. The artist draws inspiration from the images encountered in daily life, selecting those that evoke a sense of dissonance when observed. Having experienced the redefined significance and symbolism of something once accepted differently, the artist ponders common symbols, the processes of their formation, and the definitions prevalent in our surroundings. Attentive to the subjective meanings and interpretations born from personal experiences, she continues her work, exploring these queries.
She believes that the criteria for defining and evaluating something often rely on 'visible appearances or momentary, fragmented situations.' She finds the act of 'defining' intriguing, as it can assume different facets depending on the individuals defining it. When others define something this way, the intricate narratives surrounding it get omitted, leaving only a partial depiction. This raises questions about its impact, a subject she wishes to explore further.

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.

I paint beings that seem to carry the presence of loneliness. These are often things or creatures that feel overlooked—lost items, small animals, confined beings, objects tucked away in corners. They’re nothing extraordinary: common things anyone might own or pass by without much notice. But if you look closely, you might catch a glimpse of these quiet presences that exist between the steps of everyday life. They’re often found just off to the side of the path, missing a part of themselves, or left behind without a clear purpose.

Sometimes, in the middle of ordinary life, I feel like I’ve become something “other.” I’ve named this feeling becoming a fake human. It’s a sensation that arises when I’m walking down a street, speaking with someone, or standing among a group of people—moments when I suddenly hesitate to connect, sensing that I’m not quite the same. In those moments, I imagine myself as someone nearly human but slightly off, like a flawed copy—resembling a person, yet missing something essential.

I began drawing fragments of "people" through other beings because I believe the things shaped by humans—or whose lives have been altered through human presence—end up resembling us in subtle ways. Whether consciously created objects or living things unconsciously affected by human behavior, these entities are part of the social world we inhabit. And when they’re no longer just someone’s possession, but exist in their own right, they begin to carry a deeper sense of meaning. Their anonymity—the fact that we don’t know where they came from or where they’re going—gives them a kind of quiet, haunting weight.

In my paintings, these figures often share similar appearances. Like the strangers we pass on the street whose faces we never fully see, they fade from memory even as they surround us. I once saw a nearly new doll abandoned on the sidewalk. On another day, I passed an old man drawing on the street in the freezing winter. These are the kinds of moments I try to gather—brief scenes that make you pause for a second and look. Through my work, I want to depict the quiet, slightly unbalanced figures of ordinary people—people who, for just a moment, come into view.

Maverick Abac's practice explores painting and collages on various media as a reflection of his consciousness and upbringing. Navigating the realm of memory, his works are known best for their pop surrealist meditations of our individual and collective psychological experiences.

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.

The internationally acclaimed filmmaker Park Chan-wook (b.1963) has demonstrated his passion for photography through a wide variety of media channels. Park questions himself the reason behind the act of taking a picture, leading audiences to contemplate the nature of photography as a medium. In stark contrast to the carefully orchestrated scenes in his films, his photographs readily embrace happenchance and the unexpected, while at the same time possessing incisive and wry humor coupled with powerful drama. As the artist describes his photography practice, coincidence and spontaneity play crucial roles in his photographs as an 'antidote' to his experiences in filmmaking. Park, who as a commercial film director would have most astutely trained the ability to capture the sentiment of the times in his works, provides us with the motive to proactively expand the realm of unexpected beauty within the most habitual scenes of our everyday life.

Through both figurative and abstract interpretations, Seonggwang Yun (b.1999) invites us to confront our instincts and primal emotions. His “monsters” embody human repression and mirrors the viewer’s memories and psychological states through anguished or vacant gazes. 

Yun’s first solo exhibition was with ROY GALLERY (2025). He has further participated in group exhibitions at Lotte Gallery (2024) alongside famed contemporary artists in Mr. Doodle and Travis Fish. He has also exhibited actively at Postedit Gallery (2025), Space Fountain (2023). He continues to garner international attention through shows at Monat Gallery (Spain, 2023), Vinyl on Vinyl Gallery (Philippines, 2025) and Verygood Gallery (Philippines, 2025).


Tarnia Marmolajo
b. 1975, Santo Domingo, Dominican Republic
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Tania Marmolejo’s distinctive Caribbean heritage and Scandinavian roots have greatly influenced her approach to creating contemporary art. Tania studied graphic design and illustration in Norway before returning to the Dominican Republic to pursue fine art at the Altos de Chavón School of Design. In 1998, she earned the Bluhdorn Scholarship, allowing her to continue her education at Parsons School of Design in New York, where she graduated with a degree in Fine Art and Illustration in 2000.
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Her artistry is a powerful exploration of the human experience, transcending conventional boundaries and redefining the world of figurative art. Through her mesmerizing large-scale paintings, she delves into the complexities of gender, identity, and cultural heritage, drawing from her unique Swedish-Dominican roots. Marmolejo Andersson skillfully weaves a mysterious realm of enigmatic female portraits that elicit deep emotions and empathy in viewers, while simultaneously addressing social issues and promoting women empowerment. Her innovative approach to capturing emotions and conveying powerful narratives through her art has earned her a prominent position in the contemporary figurative art scene.
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Tania Marmolejo’s work has participated in numerous solo exhibitions from around the world, including “As Far As Your Eyes Can See”, KIAF Seoul, Eligere Gallery, (South Korea, 2022); “The Dream And The Voyage”, CICA Vancouver (Canada, 2022); “elenovela Life”, GR Gallery, (USA, 2022); “Santas y Tígueras”, Museo Cándido Bidó, Bonao, (Dominican Republic, 2020) and “(In Between)”, Galleri Nord- Norge, Harstad, (Norway, 2018). Her work has also been featured in group exhibitions, such as “You Me Me You”, Nicodim Gallery, (USA, 2022); “Summer Camp”, GR Gallery, (USA, 2021); “Vibraciones Conteporáneas”, Lyle O Reitzel Contemporary Art, (Dominican Republic, 2021) and “CONTEXT”, Art Miami, Lyle O. Reitzel Gallery,(USA, 2017).

Chu Mirim(b. 1982) is based is Seoul. Using pixels as elements in her work, Chu engages in formative experiments that go beyond design and fine art. She critically explores keywords related to computer graphics, pixels, and the internet etc., and she has great interest in producing work where the cross- sectional aspect of images used in social network sites may be viewed from various angles. All her works, in particular, transform a visually hidden web-based society into a series of images, reflecting the artist’s intention to directly present the digital landscape around us. As time passes, her perspective which looks at the life forms of the contemporary young generation gets brought out across a more diverse spectrum.

Im Jaehyoung collects images of personal and social loss and explores them in various ways, linking the concept of 'disappearance' with the act of painting. Through his paintings, he creates a unique visual distance, addressing the psychological and ethical distances associated with absence.

JHR’s projects explore the ways in which the problems we face in reality are dealt with in the virtual space. Hyeryun JUNG(b.1977, S.Korea) has been creating material/non-material visual works with aspecial interest in the organic relationship humans develop with their environment. She completed her Ph.D.(2014) in Fine Arts at Pusan National University. Her main solo exhibitions include US2-Migration(Soma museum of art, Seoul, Korea, 2023), Treasure island(Rhee Seund Ja Jinju Art Museum, Jinju, Korea, 2020), Landscape of –1(L'H du Siege Art Center, France, 2019), and Serial Possibility-planet(HIGURE17-15cas, Japan, 2016). She has also participated in numerous projects and group exhibitions at home and abroad such as the inaugural exhibition of the Museum of Contemporary Art Busan(2018), Biennial InterAction NAPOLI(Made in Cloister, Napoli, Italy, 2023) and Kenpoku Art Triennale (Fukuroda Falls, Japan, 2016).
She received the First Soorim Art Award from Soorim Cultural Foundation(2017), was selected as a Young Sculptor of Today by Kim Chong Yung Museum(2012), and joined residency programs at L'H du Siege(Valenciennes, France, 2018) and Kuandu Museum of Fine Arts (Taiwan, 2013).

The artist Lee Hee-myoung has been exploring a multifaceted perspective on the inner self using painting and installation works, with a focus on femininity and nature since her plant installation piece in 2006. She graduated from the Department of Painting and the Graduate School of Painting at Hongik University. She has held a total of 11 solo exhibitions, including one at the Zaha Museum of Art in 2019. Additionally, she has participated in around 50 group exhibitions, such as those at the Seoul Museum of Art (2007), Sungkok Museum of Art (2008), Soma Museum of Art (2018), and Zaha Museum of Art (2023). She endeavors to establish an internal connection seeking harmony between nature and the female body through diverse expressive techniques. Departing from a vertical mindset that seeks to dominate nature as a primitive world, Lee Hee-myoung advocates for a horizontal world that aligns femininity and nature. Through contemplation of nature and inner self, she creates reassembled works based on the combination of plants and the body, addressing the corporeality of nature and femininity. She also implements fairy-tale-like imagination and mythical symbolism across various spectrums, the positivity of aesthetic embrace and the unsettling shadow of the unknown are captured in her work.

Ursula Palla was born 1961 and grew up in Chur, today she lives and works in Zürich. In her work she interlinks video and room sculptures and works with sensitive materials such as moulded sugar, coal dust or snow. The fragility of nature and wild life is the focus in many works. On a first level an enchanting aesthetic make these accessible. Yet all works are based on comprehensive research, and only its knowledge completely reveals the depth and urgency of the work. The video and room installations by Ursula Palla are poetic and at the same time show up voids that often leave behind a stale feeling and remind us of our responsibility towards nature and environment. This makes the artist’s work highly topical.
While in Ursula Pallas’ early work the accent was on the human being as a figure between appearance and disappearance, after 2000 the plant and animal world came into focus as motifs. The artificiality of nature crystallises ever more clearly as the central theme of the multimedia oeuvre.


Xian Kim (b. 1992) graduated with a Bachelor's degree in Printmaking from the Academy of Arts & Design at Tsinghua University, China, and subsequently completed her Master's at the Central Academy of Fine Arts, also in China, specializing in Printmaking. Kim reimagines familiar biological forms and objects with a texture akin to plastic, focusing solely on their essence by stripping away all non-essential elements commonly encountered in everyday life. The still life compositions of re-envisioned objects and organisms exude an absence of warmth, yet they remain objective, simple, and sometimes brutally honest. Through her works, everything within the canvas exists in an ideal state of non-existence, free from the complexities of reality—conceptual layers are removed, creating a unique utopia exclusive to Xian Kim.

Artists