Henri Matisse was a French visual artist, known for both his use of color and his fluid and original draughtsmanship. He was a draughtsman, printmaker, and sculptor, but is known primarily as a painter. Matisse is commonly regarded, along with Pablo Picasso, as one of the artists who best helped to define the revolutionary developments in the visual arts throughout the opening decades of the twentieth century, responsible for significant developments in painting and sculpture. The intense colorism of the works he painted between 1900 and 1905 brought him notoriety as one of the Fauves (French for "wild beasts"). Many of his finest works were created in the decade or so after 1906 when he developed a rigorous style that emphasized flattened forms and decorative patterns. In 1917, he relocated to a suburb of Nice on the French Riviera, and the more relaxed style of his work during the 1920s gained him critical acclaim as an upholder of the classical tradition in French painting. After 1930, he adopted a bolder simplification of form. When ill health in his final years prevented him from painting, he created an important body of work in the medium of cut paper collage. His mastery of the expressive language of color and drawing, displayed in a body of work spanning over a half-century, won him recognition as a leading figure in modern art.

Xooang Choi(b. 1975) has been creating works that unfold various phenomena arising in the relationship between individuals and society through realistic depictions of the human body. His works possess the power to evoke tactile sensations that resonate thoroughly with viewers’ hearts, prompting them to reflect on the world they live in and the situations they find themselves in. In the recent works, Choi examines the process of actively embracing various intermediate parameters within the artwork, moving away from a subjective position of making sculptural decisions to expand concepts and forms encompassing regions, histories, places, and memories.

He has held solo and group exhibitions at prestigious galleries and museums both domestically and internationally, including the National Museum of Modern and Contemporary Art, Korea; Sungkok Art Museum; Gwangju Biennale; Changwon Sculpture Biennale; Yeosu International Art Festival; Doosan Gallery Seoul and New York; Hakgojae Gallery; Gallery SP; Space So; Yoon Seon Gallery; Musee d'Ansembroug (Belgium); Art Seasons gallery (Singapore); National Centre for Contemporary Arts (Moscow, Russia); Vestfossen Museum (Norway); Brandts Museum (Denmark); Jewish Museum (Berlin, Germany); Galerie Albert Benamou (Paris, France); Musée de la Halle St Pierre (Paris, France); Fine Art Gallery of Luxun National Institute (Shen Yang, China), among others.

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.

Jin Han investigates and depicts incidents related to universal feelings of sadness and anxiety. She is currently studying visual arts at Seoul National University of Science and Technology, she actively exhibits his work to the public. The artist analyses emotions such as melancholy and an inherent sense of isolation, beginning with a sensation of anxiousness based on fragments of autobiographical recollections. The artist creates a distinctive sense of self-using thin, overlapping, and dripping brushstrokes to 'bring out' the memories and feelings onto the canvas. Through her art, she offers contemporary audiences a message of shared experience, empathy, and healing.

Born in 1933 to an affluent family in Gaeseong, Han Youngsoo showed artistic talent from a young age and pursued photography as a hobby. After his military service in the Korean War, he became a member of the Shinsunwhue (New Line) group, an association of realist photographers who championed “everyday life photography.” In Seoul, they documented the resurrection of the city in the late 1950s and the social realities of the Korean people. South Korea’s economy saw explosive growth in the 1960s. In 1966, Han founded his photography studio, Han’s Photo, which pioneered the country’s advertising and fashion photography industries.

Han went on to take leadership positions in numerous photography associations and cultural institutes. In 1987, he published Life, a photography book that compiled historic scenes of Seoul in the aftermath of the Korean War. After his passing in 1999, his daughter Han Sunjung established the Han Youngsoo Foundation to promote Han’s legacy and preserve the estate of his negatives and other archives. The Foundation has garnered international recognition for Han’s photographs. His works were included in the Les Rencontres d’Arles (2014), and he has held recent solo exhibitions at the International Center of Photography in New York (2017), Baik Art Gallery LA (2018), and Harvard University Asia Center (2019). Han’s work has been included in groundbreaking international exhibitions such as The Space Between: The Modern in Korean Art at the Los Angeles County Museum of Art (LACMA) in September 2022.

Jung Kwang Ho, who aims to weave between painting and sculpture, desires to explore the essence and interpretation of sculpture in particular. A sculpture is a tangible representation of an image manifested by the sculptor using materials, techniques, and tools to create a specific object in a particular way. Jung oxymoronically refers to his works as "non-sculptural sculptures," as he works with non-sculptural properties to create essentially sculptural works. The paradoxical expression is part of how he explores the essence of sculpture. The artist made no distinction between inside and outside, instead exposing the surface and penetrating through to suggest that surfaces are merely the superficial layer of sculptural essence and the surface of reality.
Jung presented solo exhibitions in various museums worldwide, including the Stedelijk Museum in Amsterdam, Art Sonje Museum in Gyeongju, Kumho Art Museum in Seoul, Gallery Thomas in Munich, Lumen Gallery in Paris, and Canvas International Art Gallery in Amsterdam. He also participated in significant group exhibitions at institutions such as the Seoul Museum of Art, Samsung Museum of Art Leeum, Singapore Art Museum, and Gyeonggi Museum of Art. His works are held in various collections, including the National Museum of Modern and Contemporary Art, Daejeon Museum of Art, Hanlim Museum of Art, Sonje Museum of Contemporary Art, and Ho-Am Art Museum.


Tom Howse uses humour to explore the balance between realism, fantasy and our desire to know and our inability to comprehend. The artist reconstructs the hierarchy of living things and invites the unstable reality into the comfortable setting of a personal living room.

Soyoung Seo is an artist who converts figurative components into abstract images. She recently worked in several fields, including graphics, painting, and design, and combining illustration with NFT works. She develops her work in the form of collages, pursuing the unique atmosphere formed by the collision of unrelated places and objects, and is fascinated by humans' raw and unrefined emotions. Since she describes her work as a series of daydreams and investigations, she allows the audience to join the beautiful and unstable realm of dreams and unconsciousness that we lose as we grow older, providing a vibrant world of inner sensations.

Sangyong Lee is an artist who actively exhibits in both Korea and New York. He has held 16 solo exhibitions, starting with his debut in Korea, and continuing with shows at Tenri Gallery in New York, Waterfall Gallery in New York, BK Gallery in Seoul, and Gallery Jeon in Daegu in 2022. Additionally, he has participated in over 200 group exhibitions and art fairs, primarily on the international stage.

Gabriel Orozco attended the Escuela Nacional de Artes Plásticas between 1981 and 1984 and in 1986, moved to Madrid to continue his studies. In 1987, Orozco returned to Mexico City, where he associated with a group of other artists including Damián Ortega, Gabriel Kuri, Abraham Cruzvillegas and Dr. Lakra. This group met once a week for five years to talk about myriad artistic and cultural projects. 
Orozco has had many important solo exhibitions, including the Museum of Contemporary Art in Los Angeles, in 2000; the Hirshhorn Museum, Washington D.C. and the Serpentine Gallery, London in 2004; the Museo Nacional Centre de Arte Reina Sofia, Madrid, (2005); the Museo del Palacio de Bellas Artes, Mexico City and the Museum Ludwig, Cologne (2006). The Museum of Modern Art in New York organized a mid-career retrospective that toured to the Kunstmuseum Basel, the Centre Pompidou, Paris, and ended at the Tate Modern, London, in May 2011.  Other important solo exhibitions include the Guggenheim Museum, New York, 2012, the Museum of Contemporary Art Tokyo MOT, Tokyo, Japan (2015);  and the Aspen Art Museum, Aspen, in 2016. Orozco participated in the Venice Biennale in 1993, 2003, 2005 and 2017, the Whitney Biennial (1995 and 1997), as well as Documenta X (1997) and Documenta XI (2002). 
In 2019, the President of Mexico announced that Orozco would, in conjunction with the Secretariat of Culture, oversee the construction of a major new cultural center within Chapultepec Park in Mexico City. Gabriel Orozco lives and works between Tokyo, Mexico City and New York.

For almost forty years, Heri Dono has developed a fantastical world of dichotomies in his paintings. Humorously juxtaposing reality with imagination, folk with contemporary art, politics with fiction, the tension between these opposing forces create narratives that cut across a complex, multi-layered system of ideologies. Having lived through the struggle against oppression by the Indonesian regime in the 1980s, and later the ‘reformasi’ in 1998 that spawned from the end of Suharto’s regime and developed into the neo-liberal globalization of Indonesia as it is today, Heri Dono’s artistic methodology re-examines power structures through satirical illustrations of humans versus the Other, man versus machine, offering a kind of passage for others to survive real life transitions during challenging times. 
​
He is known for his uniquely contemporary, Javanese style inspired by traditional Wayang Kulit (puppet theatre). Through his construction of thoughtful layers in his work, he is able to emphasize the more serious, underlying reflections on and criticisms of social and political issues such as military intervention, political corruption, and environmental destruction, allowing easier engagement with often difficult concepts. 
 
Heri Dono participated in no less than 31 international biennales. His works have been widely exhibited, including at the Venice Biennale in 2003 and 2015, the Gwangju Biennale in 1995 and 2006, the Singapore Art Museum, the National Gallery of Indonesia in Jakarta, Musée d’art contemporain de Lyon, France, and Asia Society New York, among others. His works are in the collections of the Deutsche Guggenheim in Frankfurt, the Fukuoka Art Museum in Japan, the Singapore Art Museum, the National Gallery of Australia in Canberra, and the Tropenmuseum in Amsterdam. Award winners of the Prince Claus Award for Culture and Development (1998), the Unesco Prize in 2000, and the Anugerah Adhikarya Rupa (Arts Award) from the Indonesian Government in 2014.

Blake Daniels, born in 1990 in Cincinnati, Ohio, is an artist known for his unique blend of figurative and abstract art. Working between New York and Johannesburg, Daniels has a rich artistic heritage and developed his passion for art early on. With a Master of Fine Arts from the University of the Witwatersrand and a Bachelor of Fine Arts from the School of the Art Institute of Chicago, where he received the Edward L. Ryerson Fellowship, Daniels employs various techniques, including traditional oil painting and mixed media. His works explore themes of intimacy and human connection, portraying intricate interpersonal relationships set against mystical backdrops, creating an intimate, enchanting atmosphere for the audience.

Scott Young is fascinated by the strange and subtle relationships we project onto objects and possessions. His paintings are contemporary reimaginings of still life and vanitas, featuring objects and motifs with charged social meanings, carefully arranged in coded dialogues. Often employing painting techniques that mimic faux marble or wood, his work hints at the artificiality inherent in our extractive relationship between nature and culture.

Halo mainly draws using a pencil. Characters reminiscent of clouds and smoke, faces, flowers, objects, and landscapes are connected to each other with soft lines. The combination of delicate pencil drawings and simple characters is exquisite and natural. He tries to face the moment when his attention is taken by small things that can be easily overlooked in everyday life and also when he encounters a trivial but impressive incident. He imagines that things that have passed, things that have been lost, things that are no longer visible are out there somewhere, and he remembers them 
in a very personal and small way.

Yujin Lee (b. 1986) is a visual artist and a collaborator living and working on Jeju Island, South Korea, where she also runs an experimental artist residency named Next Door to the Museum. Guided by the rural life on the island, her practice revolves around ecological thinking and relationship building.

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.

Pierre Paulin, born in 1927, originally trained as a sculptor but shifted to design after injuring his right arm. His iconic designs for Artifort in the 1960s, including the Mushroom Chair and Ribbon Chair, showcased his innovative use of materials and clean lines. Influenced by German design principles and early modernists like George Nelson and Charles Eames, Paulin also emphasized the social aspect of modern design. His work adorned prestigious spaces like the Élysée Palace and the Louvre Museum's Denon Wing. Posthumously awarded the title of "Royal Designer for Industry," his designs remain timeless icons of 20th-century design, epitomizing the essence of Brutalism.

Minjung Key studied traditional East Asian painting at Seoul National University, where she also completed her graduate studies. The artist’s artistic practice is deeply rooted in an intimate engagement with materials. By juxtaposing the weight and coldness of glass with the softness of hanji, she explores the tension between contrasting materials. In her newer works, however, this exploration evolves—what emerges is a visual language shaped by the rhythmic qualities inherent in the line itself. These lines, generated through a painterly logic, coalesce into forms that assert a palpable sense of weight and presence within the pictorial space.


Dessins

Assemblage C5

Assemblage C3

Assemblage H1

Fragment 23

Un quadro coi fiocchi, 1998

Grain

Shadow

Look Back

Distance

Tundra

Garden

Nodeulseom, Seoul, Korea 1956

Namdaemun, Seoul, Korea 1956-1963

Myeong-dong, Seoul, Korea 1956-1963

The Flower 21100

The Pot 24130

PWPOTH (Peter)

Refracting Perspective

Cactus In A Green Pot

Fruit Plate

Pear on head

Pears

Heads with pigeon

PWPOTH (Anni)

PWPOTH (Beryl)

PWPOTH (Dina)

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