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.

Drawing the organic form of plants in nature with a detailed sense.

Vassily Kandinsky pioneered abstract painting in the early 20th century. He believed that geometric forms, lines, and colors could express the inner life of the artist—a theory quite evident in his own explosive paintings, which were often inspired by music. Today, Kandinsky’s canvases sell for tens of millions at auction and belong in the collections of the Museum of Modern Art, the Art Institute of Chicago, and the Tate, among other prestigious institutions. In 1911, Kandinsky played a central role in organizing Der Blaue Reiter, a group of avant-garde artists in Munich that included Franz Marc and Paul Klee. From 1922 to 1933, he taught at the Bauhaus, the historic Weimar institution that brought together artists including Josef Albers, Lazlo Maholy-Nagy, and Piet Mondrian.

My work begins by extracting formative elements that can be found in natural objects. 
It is to collect the formative beauty and aesthetical beauty of nature and reconstruct the canvas based on it. The images displayed on the screen are mainly expressed in the form of flowers or plants. For this case, the object shown in the form of a natural object is only an element used for color and formative harmony. Several flowers from a single stem are sometimes embodied as having different colors and shapes and some float the canvas without a starting point. Also, shapes unrelated to natural objects are placed in various places on the canvas and it is because the shapes on the canvas do not follow the biological structure of nature and it means that the images have their own form, not the result of imitation. Each formative element is recognized as a single piece in composing the canvas. A series of processes to approach the formative beauty by refining the shape until it has the desired shape is similar to working with a piece. The individual pieces completed at the same time act as an element again in the larger screen, serving as a small piece’s form. 

The finished pieces take the most harmonious position for the canvas composition. In this way, the process of deleting and inserting shapes until I reach the scene that I feel is the most beautiful can be said to be the process of creating a piece with a greater meaning.

Flowers and plants we encounter in our daily life are kind subjects. Many of them are immobile and stationary in their place, but they appear in various forms that accommodate changes according to the environment. I do not perceive them as fixed or complete images, but accept them as formative elements of points, lines, planes, colors, and shapes.

When I find a subject I want to collect among the forms created by natural objects, I draw on the spot. I extract the components or elements I want to be influenced by or needed for future work and bind them to my notes. At that time, I  do not bring all the forms as they are, but remove the details and collect them in a condensed form.

After that, I continue referring to the drawings in my binding and adapt the artistic senses that come from them, and I try to learn the formative aspects and the colors through this process. While repeating the process of mixing or refining the drawings collected and reinterpreted on the canvas, by accumulating harmony and order of the formative elements, I wanted to discover my own sense of aesthetics. 

Kittisak Thapkoa was born in 1989. He graduated from faculty of fine arts, Silpakorn University. He expresses the story in terms of realization and awareness of morality. Buddhism is the religion that teaches humans to be able to perceive the truth of the world. Humans cannot get away from birth, aging, suffering and death. 

He has participated in group exhibitions both in Thailand and abroad(USA). He even received the art awards from Toshiba “Brings good things to life” art competition in 2005, 2007 and 2011. The second award National arts by Bangkok bank and the winner of Bualuang 101 art contest in 2012. Moreover he is accepted from global collectors, Art state Singapore in 2016, Art state Jakarta in 2017, and Art expo Malaysia in 2018.

I once read a column by a Korean journalist. In it, he recounted a moment during his travels in the Middle East when he suddenly remembered a novel he had read in his youth that had left a deep impression on him. On a whim, he stepped into a shop and purchased a carpet. Rather than placing it on the floor, he brought it home and hung it on the wall as a decoration.

While working on my own practice, I found myself struggling for a time, unsure of what kind of painting I should make. Some pieces came easily, but others did not. As I looked at the discarded canvas and paint, I tried to understand the cause, but I could only feel lost and uncertain. Recently, however, I had a chance to look deeper into myself. A few significant events—some big, some small—created that opportunity. I began to retrace memories I had previously passed over without much thought, flipping through old photo albums, selecting images that resonated with me in a different way than before. I even read the novel that had inspired the journalist.

In the novel, the carpet is a gift given to the protagonist by an old poet when asked what life is. Only later, after experiencing the various hardships of life, does the protagonist come to understand its meaning. The carpet affirms the purposelessness of life. Just as the weaver wove the carpet to fulfill their own aesthetic sensibility, without any other purpose, we too must accept that life is not about clinging to each and every event, but about recognizing that our own pattern is gradually taking shape.

Reflecting on the story, I felt a sense of peace. Like the weaver crafting the carpet, like the journalist who chose to hang it on the wall rather than lay it on the floor, I fixed raw canvas directly to the wall, without a frame, and traced its surface with dry, short brushstrokes, as if following the warp threads of a carpet. This method of working felt natural. As I focused on the rough texture of the brushstrokes, the painting began to take on a pattern of its own.

Born in 1997, Warisa (Shinnawat Sa-nguanjuk) graduated from the Faculty of Architecture and Design, majoring in Communication Design, at Rajamangala University of Technology Rattanakosin. He began creating acrylic paintings under the name ‘Warisa’ in 2021.

Warisa first came to prominence in the contemporary art scene after participating in Bangkok Illustration Fair 2024, which led to his invitation to showcase his work in the group exhibition “First Light: The Joy of Discovery in Contemporary Asia” (2024), presented by All About Art Gallery and held at River City Bangkok. Both showcases received widespread acclaim, marking Warisa as one of the new generation artists to watch—known for his distinctive visual language and introspective sensibility. 

His artistic inspiration stems from the idea of the garden in its many forms—a space where emotion, memory, and imagination intertwine. Influenced by cinematic storytelling, Warisa’s paintings transform scenes of nature into poetic narratives filled with atmosphere and quiet contemplation. His works do not merely depict the beauty of nature, but evoke a world of feeling—one that exists delicately between reality and dream. 



oo Young Choi(b.1993, Korea) works from a place of deep agony over the notion that ideas branching out from the root of the “I” must inevitably exist in the context of relationships with the other. Choi expresses this idea as a faceless “black dot,” a character that represents the artist’s thoughts — along with those of many others in modern society. Containing both the stability of belonging that comes from a uniting, intertwining crowd as well as the unavoidable sense of isolation that occurs in any relationship, the duality of the “black dot” is sure to strike a chord with anyone living in the present era. Individual yet multiple, unfamiliar yet comforting, the “black dot” speaks to us all.

In a practice that spans film, photography, and installation, Arthur Jafa confronts the beauty and alienation at the heart of Black American experience. The artist often juxtaposes original and found footage, exploring the possibilities of images and their archives. Jafa studied film and architecture at Howard University. Before focusing on fine art, he enjoyed an illustrious career as a cinematographer and worked on iconic films such as Daughters of the Dust, Crooklyn, and Eyes Wide Shut. His breakout work, 2016’s Love is the Message, The Message is Death, was shown at institutions around the world, including MOCA Los Angeles, ICA Boston, and MCA Denver, among others. He has been included in exhibitions in New York, Los Angeles, Chicago, Amsterdam, and elsewhere. In 2019, Jafa won the Golden Lion Award at the 58th Venice Biennale for his film The White Album.

For Hyunmo Yang, drawing is an observational attempt of self-reflection that leads to a process of balancing. Fragments of daily experiences and emotions manifest as oscillating lines or dense shadowy spaces-proving the interstices of Yang’s painting and existence.

Rachata Siriyakul was born in Thailand and studied till 8th grade. He started to learn art in “Nanyang Academy of Fine Arts” Singapore in 2015. Later in 2017 he studied art at the school of John Angel (Pupil of Pietro Annigoni) and Martinho Corriea pupil of John Angel, Florence, Italy before moving to purposefully directly study art with Odd Nerdrum, a famous Norwegian painter. In 2018 he participated in an exhibition at Bangkok Art Biennial, Theatre of Indulgence Gallery by Lotus Arts de Vivre. Moreover in 2023 he participated an international art fair in Art Busan.

Jeroz illustrates the romance that dwells within the urban coldness. In a story-like circumstance, the character's sunglasses conceal their eyes and their moustaches cover their mouths, allowing the audience to infer and assume the facial emotions of people with unknown faces as situations in work. The strong saturation and contrast of the dark night reflect the location's temperature, and each moving animation piece contributes to the work's amusement. The introduction of the work is written as an excerpt from a novel, offering the audience the opportunity to explore the content before and after it. The artist hopes that the universe shown in the painting is a world that is both cool and romantic, and in which the viewer lives fiercely. 

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.

Salvo was an Italian Conceptual artist that transitioned from producing austere sculptures to painting richly colored depictions of the Italian countryside. Born Salvatore Mangione on May 22, 1947 in Leonforte, Italy, he became associated with artists of the Arte Povera movement during the late 1960s, meeting Alighiero Boetti, Mario Merz, Gilberto Zorio, and Guiseppe Penone, while living in Turin. Originally achieving recognition for his text-based works—which consisted of his name or a tombstone for himself—Salvo began painting in 1973. Characterized by simplified forms reminiscent of the early Modern avant-garde. These dream-like scenes like are reminiscent of the Italian Metaphysical painter Giorgio de Chirico. In 1977, the Museum Folkwang in Essen, Germany gave the artist his first retrospective. He died in Turin, Italy on September 12, 2015 at the age of 68.

Ricardo Passaporte's work draws attention to the hand-drawn, homespun nature of their creation by
referencing Outsider Art and engaging with the repetitiveness and impulsivity of graffiti. The artist explores
the symbolic nature of found images and uses this material as inspiration to inform his practice. Passaporte
takes interest in and raises questions around the nature of making art, as well as the dichotomies between
the mass-produced and the uniquely singular art object.

“Unlike my unstable self, who might suddenly disappear or explode, I was drawn to the beautiful stability found in the order and systems of physics.” Hyojeong Son (b.1987) begins her work from this contemplation. Her practice is deeply rooted in an inquiry into physics and mathematics, which she interprets through visual language. Simple symbols and geometric forms serve as the foundation for carefully constructed compositions, imbued with balance, direction, and structure. Her complex visual systems incorporate light, space, and collage to transcend linear time and express invisible forces. Son’s work operates as both a visual investigation of physics and a poetic bridge between science and art.

[Layers of Deficiency: Reframing Through Monsters and Frames]
The core theme permeating the artist’s work is ‘deficiency.’ While often dismissed as a negative element that renders humans incomplete, the artist strips away this stigma by infusing it with constant contemplation and observation. In her hands, deficiency is reinterpreted and brought to life as whimsical, fairy-tale-like creatures called ‘Deficiency Monster.’ These beings are meticulously crafted on soft felt, where the rich texture of oil pastels meets the delicate, sharp strokes of a pencil to create a sense of living fur.
Narratives of deficiency—once marginalized and deemed trivial—are brought to the surface through the medium of the ‘Frame,’ which the artist hand-builds from stone clay. Traditionally a tool for exhibiting and preserving something precious, the frame here serves as a protective fence for deficiency. It provides the audience with the necessary psychological distance to step back and view their most intimate emotions through a lens of fantasy.
The recurring signature of the work is the ‘Monster’—a pill-shaped creature with half-closed eyes that serves as the artist’s persona. The moment viewers lock eyes with these monsters, they undergo an indirect encounter with another’s deficiency. 
Yet, this gaze ultimately reflects back onto themselves. The artist invites the audience to meet the monster’s eyes, hoping this shared gaze becomes a moment to finally confront the deep-seated deficiencies within their own hearts.

Jaeyeon Leem explores a strange sense of novelty from unfamiliar sensations. The artist earned her undergraduate degree in painting from Ewha Womans University and is currently pursuing her master’s in the same institution. In her painting, peculiar emotions entangle with the world and result in its own fantasies. As our familiar world feels inadequate and incomplete, this uncharted mystic realm exerts a greater force upon us. The mythic motifs that appear in her work serve to amplify these sensations of strangeness, mystery, and fear that we have not encountered previously in our world. The unseen and unexperienced world feels like the underbelly of the real world, yet it is a space that makes us conscious of the depths within the human mind. 
Her art seeks to reconcile the coexistence of dualities such as reality and unreality, desire and repression, good and evil, beauty and ugliness, and within these tensions, she expresses the will and hope of life, aspirations, yearnings and fears. Her abstract gestures, intertwined with hidden forms, continually weave a narrative between the worlds she has experienced and those she has never encountered, revealing the artist's connection to an alien and mystical realm. The artist’s work is akin to myths - mysterious yet not fantasy or fiction bur rather a world that closely resembles the non-fictional, one she has sensed and felt.

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.


AdagieVo

Contrapunctus XIV (tribute to Georges Bataille’ series)

우리는 여기서 반짝

밤의 변주

We Spark Here

안녕의 조각들

슬픔의 가장자리

모로 누운 밤

Deep Sleep

밤의 틈

자장자장 / 마음과 마음들

그렇게 우리는 또

슬픔에 밝은 사람들의 지극한 밤

서성이던 숨

KANDINSKY. FORMES NOIRES SUR BLANC

Portrait of Mountains and Clouds3

Portrait of Mountains and Clouds4

Portrait of Mountains and Clouds5

Portrait of Mountains and Clouds6

Portrait of Mountains and Clouds7

Birds and Clouds1

Birds and Clouds 2

A Found Flower1

A Found Flower2

A Scene Outside the Window

Sunset Landscape

0427 1830 1847

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0522 1441 1457

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0521 1327 1341

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Cloud Portrait 14

Cloud Portrait 15

Flower Study 1

Flower Study 2

Flower Study 3

Flower Study 4

Flower Study 5

Flower Study 6

Flower Study 7

Flower 1

Flower 2

Flowers with Nishimura

Flowers 1

Flowers 2

Flowers 3

Flowers 4

Daytime Landscape

Paddy Fields and Swallows

The Way Back

Earth and Clouds

Nightscape

Nightscape2

Nightscape 3

Nightscape 4

Portrait of Mountains and Clouds 1

Portrait of Mountains and Clouds2

0526 1057 1112

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0525 0945 1000

0525 0856 0915

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0524 1354 1411

0524 0903 0921

0523 1817 1832

0523 0659 0714

0522 1510 1528

Tree

0510-0511

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0520-0521

Clouds 1

Clouds 2

Paddy Fields and Trees

Iris

Pieces

Pieces2

Cloud Portrait 1

Cloud Portrait 2

Cloud Portrait 3

Cloud Portrait 4

Cloud Portrait 5

Cloud Portrait 6

Cloud Portrait 7

Cloud Portrait 9

Cloud portrait 10

Cloud Portrait 11

See Life, See The World

Truth

World Truth

World Truth , World suppose

Boat Ride

Grandpa, Do You Want Some Yarn?

This is My Very Own Telescope!

I like Christmas Because Even the Trees Get Presents

Is Anyone Coming Yet?

Come Quick, Doggy! You’ve Got a New Friend!

Come On, Follow the Flowers!

I’m Pretty Good at Breathing In and Out

So Much Trouble… but Yeah, Cute

Good Kitty! Bring It Here, Hehe!

Listen for My Signal!

Hey, Doggy, Put Some Effort into It!

You’re Here at My Place So Early

Could You Shape It Up a Little?

Who’s your puppy talking to?

What scared you, kitty?

Hurry! He’s got something in his hand!

You can do it, horsie!

Yang-na Tree Coming Down!

Your Music and My Ambient Sounds

Hey, Hey! Draw Me Too!

The Koi Flag Is Flying Now!

Butterflies Delivered!

Halloween? I’m Managing

Facing Each Other #1

The Windows Open and The Night Grows Late

Scene 22

Arthur Jafa, Revue

Flexible Forms 08.08

Flexible Forms 01.15

Flexible Forms 01.17

Flexible Forms 01.19

Flexible Forms 01.03

Flexible Forms 02.03

Flexible Forms 03.05

Flexible Forms 03.11

Flexible Forms 03.25

Flexible Forms 04.01

Flexible Forms 04.21

Flexible Forms 04.25

Flexible Forms 04.27

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Flexible Forms 05.25

Flexible Forms 07.05

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Flexible Forms 08.29

Flexible Forms 10.19

Flexible Forms 10.10

Flexible Forms 10.13

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Flexible Forms 12.05

Flexible Forms 12.19

Flexible Forms 12.27

Flexible Forms 07.02

Flexible Forms 01.05

Flexible Forms 05.01

Flexible Forms 11.12

Flexible Forms 11.04

Short Truth

Flexible Forms 04.18

Flexible Forms 12.03

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