Adam Bazlik is a cross‑media artist and creative director whose work spans branding, fashion, motion graphics, and designer art toys, blurring the boundaries between design, storytelling, and crafted visual identity.

Shaina McCoy works from photographs to paint her family members in thick, expressive brushstrokes. While her source material is deeply personal, McCoy renders her subjects without faces, inviting her viewers to project themselves and their own relatives into her scenes. As she depicts subjects from many stages of life and employs a wide range of skin tones and compositional styles, McCoy thematizes the diversity and complexity of Black families and experience.

Alex Face (Patcharapon Tangruen) is a renowned Thai graffiti artist celebrated for his thought-provoking street art that transcends boundaries in Thailand and beyond. In 2009,
inspired by his newfound fatherhood, he introduced a distinctive three-eyed, bunny-eared character symbolizing innocence and wonder. Known for his street art skills and mastery of European old masters' techniques, Alex Face has seamlessly blended traditional and contemporary elements. In 2022, he marks two decades in the realms of street art and BANGKOK CITY CITY GALLERY fine arts, leaving an indelible imprint on the urban landscape and art scene worldwide


Toshiyuki Shibakawa developed an installation of "Excavation site 2000 years later" and recently produced (fossil) type artifacts excavated from there. They not only exhibit individual works but also exhibit various things (Archaeo- logical materials, works of art, antiques, relics, goods, etc.) in collaboration. They hold exhibitions and projects that focus on the region and place such as museums in Japan and overseas, historical buildings and shopping streets. At the same time, they hold workshops for a wide range of people, and continue their activities to reexamine the existence of things and contemporary problems.

Lee Ufan is a South Korean artist and art critic born in 1936 in Haman-gun on the southern Korean peninsula, then part of the Japanese empire. He moved to Japan when he was 20 years old, and developed a practice anchored in an Eastern understanding of the nature of materials together with an appreciation of modern European phenomenology. In 2009, the Japanese government honored Lee by conferring the Order of the Rising Sun for “contributing to the development of contemporary art in Japan.” In 2010 the Lee Ufan Museum, designed by Tadao Ando, opened at Benesse Art Site, Naoshima, Japan. Lee has had major exhibitions worldwide, including a retrospective at the Solomon R Guggenheim Museum in New York City in 2011. In 2014, he was selected for the contemporary art program of the Palais de Versailles, and in 2019 the Hirshhorn Museum and Sculpture Garden in Washington DC commissioned a site-specific installation for the museum’s plaza. Lee divides his time between Kamakura, Japan and Paris.

Yerang Hwang depicts the contradiction and compassion of the familiar world. After receiving a master's degree in Korean painting from Sejong University, she broke down the boundary between western and oriental paintings, and reinterpreted oriental artworks from her own perspective. Concerned with the categories and medium of Korean painting, the artist experiments with several display approaches. Through the appearance of contradictory materials, visitors are prompted to consider the two opposing feelings, and the artist's vision of the world is depicted through the capture of everyday life. 

The picture frame's glass, which ought to be transparent, and its curved frame—the unsettling undulation of that unfamiliar surface—create a 'gap' in the air. As a result, a 'beside' space is immediately formed between the artwork and me. An opportunity arises for us to be fitted together, much like puzzle pieces. Instinctively, we send a fragment of our 'raw' sensibility through that gap, and are quickly seized by the tickle and urgency of wanting to touch and hold the work, prompting us to boldly step closer and move our bodies around in all directions to appreciate it.

The works of Wonjoo Park placed before us always have the appearance of being tenderly caressed. To achieve this, the artist bends glass at high temperatures in her studio, breaks wooden pieces into fragments only to reassemble them, and handles cast iron. She wishes to downplay and minimize the mention of the hardship involved in the process of wearing down these raw, rough edges. This particular preference, in return, grants Park Wonjoo's work its unique expression. The artwork, solely in order to approach us softly, appears as if much has already been resolved and reconciled, or it embodies the will for such resolution.
- Hayoon Kim

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.

Minji Ryu recalls the emotions she experienced while observing the landscape in her daily life and investigates the manner in which gathered images are displayed in paintings. As a graduate of the Department of Fine Arts at Seoul National University of Science and Technology, she acknowledged the inevitable gap between the experience of gazing at reality and drawing it and took a moment to recognize the landscape that was shared through abstraction and conceptualization. Her paintings focus on the experience of seeing and reproduce the impression produced by substituting an object for a function consisting of light and darkness as a physical image. In this manner, the artist hopes that paintings will serve as a channel for evoking past experiences in the minds of the audience, so reviving their perspective on current life. 

b. 1992, Chongqing, China
Lives and works in Berlin, Germany

Xiyao received her Bachelor of Arts from Sichuan Fine Art Institute in China in 2014, and both her Bachelor of Arts and Master of Fine Arts from the Hochschule für Bildende Künste Hamburg (2018, 2020).
 
The Berlin-based Chinese artist creates large-scale, immersive paintings in which gestural lines evoke echoes of landscapes, bodies, movements, thoughts. In the process, she develops a kind of hybrid abstract painting that combines various influences and inspirations: Taoism and post-structuralism, ancient Chinese pictorial traditions, bodywork, dance, martial arts, and the canon of Western art history. Xiyao Wang’s paintings explore inner visions, bodily perceptions, sensations, feelings, interrogating her East-West biography.
 
Her solo exhibitions include: Tang Contemporary Art, Bangkok (2024), Massimo de Carlo, Milan (2024); Perrotin Gallery, New York (2024); Song Art Museum, Beijing (2023); Tang Contemporary Art, Beijing (2023);  Perrotin Gallery, Seoul (2023); Massimo de Carlo, London (2023); König Gallery, Berlin (2023); Perrotin Gallery, Paris (2022); Arndt Collection, Melbourne (2022); Gerber Stauffer Fine Arts, Zurich (2021); A Thousand Plateaus Gallery, Chengdu (2021); Soy Capitán Gallery, Berlin (2019).
 
Her work has been featured in important international venues, including the Bangkok Art Biennale, Bangkok (2024); Tank Shanghai, Shanghai (2024); Yuan Art Museum, Beijing (2024); König Galerie (2024); Le Château d’Aubenas, South France (2024); K11 Art Foundation, Hongkong (2024); CAFA Art Museum, Beijing (2024); The Art Museum of Sichuan Fine Arts Institute, Chongqing (2024); he Institutum, Singapore (2024); Yuan Art Museum, Beijing (2023);  Shepparton Art Museum, Australia (2023); Pingshan Art Museum, Shenzhen (2023); Art Museum of Sichuan Fine Arts Institute, Chongqing (2023); Aurora Museum, Shanghai (2022); Jiu Shi Art Museum, Shanghai (2022); New Now Contemporary Art Museum, Rizhao (2023); Baumwollspinnerei, Leipzig (2020); Cité international des arts, Paris (2018); Sprink, Dusseldorf (2018); and Chongqing Contemporary Art Center (2015), among many others.


Sejin Kim focuses on subtle sensations that arise in the body before they are clearly defined by language. Rather than emotions that have already been interpreted and organized, the artist is drawn to raw states that exist prior to such articulation.

Tracing sensations that pass by fleetingly or disappear before they can be fully grasped, these elusive states are translated onto the surface. Rather than conveying a fixed meaning, the work is closer to recording how a particular sensation once existed.

Such intangible sensations ultimately reside in the human body. Kim sees the form of the body as revealing human existence more directly than language, and attends to the traces of sensation that remain within it. Drawn to this honesty of the body, the artist adopts the human figure as a central motif.

Jieun Lee - A highly successful artist who has sold out solo exhibitions in Korea for four consecutive years. She enjoys traveling to Thailand, and her works are often set against Thai backgrounds.


YuChun Chen (b.1980, Changhua, Taiwan), now living in Tamsui. She received her M.F.A. from the Graduate School of Fine Arts, Fo Guang University. Her works are mainly oil paintings and film photography. She focused on themes of past memories, dreams and the continuity of time, traveling through the atmosphere of both the real and the imaginary.

Rizal Hasan
b.1992, Gresik, Indonesia

Graduated from Indonesia Institute Of The Arts Yogyakarta, Indonesia. He is currently based in Sewon, Bantul, D.I Yogyakarta, Indonesia. Artist selected solo exhibition: “POP Script : Encoding The Everyday” 2021 Indie Art House Yogyakarta; Special Art Project with Jogja Affordable Art at Jogja Art Gallery, 2022; ARTJOG 2022; ARTJAKARTA 2022.

Sono Moon explores the concept that nothing truly disappears; instead, things transform and endure in different forms. Her work is a poetic investigation into the "geometry of memory" and the "physicality of time."

Through her signature character, Hornelle—a being as small as a sugar cube—the artist reimagines vintage objects not merely as relics, but as expansive rooms and entire universes. For Moon, painting is the act of gifting a "room" to the viewer—a sanctuary where one can quietly linger amidst the joys and sorrows of life.

Her practice is divided into two distinct yet interconnected realms: Narrative Figuration and Material Abstraction.

In her figurative works, Moon utilizes the "Marie Antoinette Palette." These faded pastels and remnants of gold serve as a linguistic tool to bridge the atmosphere of the past with the present. Through this palette, Hornelle navigates a "Kingdom of Time," where memory fragments have solidified into a world of their own.

In contrast, her abstract works manifest time as physical substance. Using aged letters, vintage books, and historical documents—materials once saturated with human records—Moon deconstructs and layers them into architectural structures. This process is less about manipulating materials and more about the "architecture of time," where the layers, gaps, and eroded surfaces of paper reveal the traces of existence.

Ultimately, Moon’s work converges into a single, profound question: "What do we leave behind?" In her world, while we may eventually disappear, we remain through the unique spaces and stories we build.

Tum Ulit or Natakorn Ulit (ฺBorn in 1992) is an artist, cartoonist, and storyteller enamored with the world of cartoons since childhood. He completed his undergraduate studies in Animation Production at Mahidol University International College (MUIC). His passion for cartooning stems from a profound need to articulate and navigate through deep-seated pain and sorrow nestled within his soul. Through the art of cartooning, Tum discovered a transformative medium, allowing him to explore his innermost self and the intricate nuances of his emotional journey. 

Tum Ulit first gained recognition among readers through his webcomic series featured on his page “Tum Ulit”. What distinguishes him is his ability to narrate stories through visuals alone, reaching deep into the emotions and touching the souls of readers from diverse backgrounds and languages worldwide. This unique approach has inspired him to continuously create works that resonate as ambassadors of people’s emotions. Tum Ulit hopes above all that his creations spark profound reflections and become symbols of apologies, remembrance, or lingering sentiments in people’s hearts. Presently, his page boasts a global following of over 1.7 million individuals. 

In 2022, Tum Ulit made his debut in the art scene with the group exhibition “Shall I Compare Thee to a Summer’s Day?”, followed by “To the Moon and (Never) Back” in 2023 and his first solo exhibition, “Who’s Cutting Onions?” (2024) which all held at River City Bangkok. These showcases, especially his solo exhibition, captured the attention of collectors and enthusiasts alike, both locally and internationally. 


CYRCON

Kitty

Auntie & Niecey

Big Wheel

Baby Troy at Play

Appearance II.40220210 (Kewpie Doll Fossil Excavated 2000 Years Later)

Appearance II.40210206 (Kewpie Doll Fossil Excavated 2000 Years Later)

Appearance II.20191036 (Canvas Fossil Excavated 2000 Years Later)

Untitled (I)

Untitled (II)

Untitled (VI)

Untitled (V)

Untitled (IV)

Birth

Prey

Singing Birds

Spring

Flower

Family

White cat

Adam and Eve

Black cat

Raising things

Baby goat

Love

Flowers and Dog

Spider and Butterfly

The spring of Seoul

A house on a mountain

Crying bird

Summer

Blood

Persimmon tree

Rose

The Empathy Box Z

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 12.03

Flexible Forms 01.03

Flexible Forms 04.18

Flexible Forms 08.08

Flexible Forms 01.15

Flexible Forms 01.17

Flexible Forms 01.19

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

Flexible Forms 05.10

Flexible Forms 05.25

Flexible Forms 07.05

Flexible Forms 08.19

Flexible Forms 08.11

Flexible Forms 08.25

Flexible Forms 08.29

Flexible Forms 10.19

Flexible Forms 10.10

Flexible Forms 10.13

Flexible Forms 10.18

Flexible Forms 11.19

Flexible Forms 12.05

Flexible Forms 12.19

A moon

A tree with the street lamp

The shape of leaves

Surface

The color of days 

Untitled

Flowery

The way of leaves

The Blue Hour No. 4

Horse II

Daruma II

Daruma III

Daruma IV

Daruma V

Daruma VI

Bokjumeoni I

Bokjumeoni II

Haetae I

Yongwang

Haetae II

Horse III

Horse I

Maneki-neko I

Maneki-neko II

Norigae I

Norigae II

Daruma I

Spine 등허리

Encounter 조우

Omen 징조

Hollow 오금

Propitious dream

Who's the Joker?

Phiphi Island

Going Home

Is My Fate in Your Hand?

Rooftop

We Left a Sweet Place

Everything and Nothing

Circular Time

Talking Hands

The Sofa

Days of the Past

After the Rain

Iron Pheasant

The Shades of Night

Head to Somewhere

Dreamed of the Sea and Tears

Is Your Fate in My Hand?

As I Went Over the Water

Costal Wind

The Moon

Gloves

Square

Persistence

Gallery Wall #5-Drawing

Gallery Wall #4-Drawing

Gallery Wall #3-Drawing

Model House in Hwaseong #1-Drawing

Gallery Wall #2-Drawing

Gallery Wall #1-Drawing

Model House on Mars #4-Drawing

Model House on Mars #2-Drawing

Apartment Color: Trend vs Le Corbusier

Gallery Wall #6-Drawing

Hornelle – plate

Hornelle – Mirror

Architecture of Time 2026-7

Architecture of Time 2026-4

Architecture of Time 2026-5

Architecture of Time 2026-6

Architecture of Time 2026-3

Architecture of Time 2026-2

Architecture of Time 2026-1

Hornelle The Cake

Hornelle The Reagent Bottle

Hornelle Chessboard

Hornelle The Frame

Hornelle The Glass

Hornelle The Key

Hornelle The Chocolate Box

Hornelle The Bear

Hornelle The Book — Attic

Hornelle The Boxes — Attic.

Hornelle The Bottle — Attic

The Cotton Shield

Fragility of change

Featured Artists on Artue