TENGA ONE began creating graffiti in 1992. Until around the age of 30, he was active in the streets, focusing primarily on murals and urban interventions. In his mid-thirties, he started reflecting on the contradictions he experienced through graffiti culture—the injustice, the invisibility of graffiti writers, and the complex realities they face. To express this, he began carving MDF to resemble cardboard, using it as a sculptural surface on which he painted characters inspired by Japanese animation. This method merges tactile, hand-carved forms with familiar pop-cultural imagery, creating a layered visual language.

Lugosis is a contemporary artist, tattooer, and graffiti writer from Italy, currently based in Berlin. His work is heavily inspired by cartoons and animation from various origins, through which he explores biographical events, social connections, and youth culture.


Hyewon Na is a painter born in Gwangju, South Korea. Her work explores conflicting yet coexisting emotional states, such as anxiety, violence, imperfection, sacrifice, love, and beauty. Through her art, she reflects on human vulnerability and the tension between finitude and eternity. Her work is a study of how to aesthetically represent these human contradictions. Much of her inspiration comes from history, society, religion, and more.
She earned her Diplom from the Hochschule für Bildende Künste Dresden (under Professor Martin Honert) in Germany, and has participated in numerous solo and group exhibitions in South Korea, Berlin, Dresden, Paris, and other cities. She currently resides and works in Berlin, Germany.

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.

Choi Soo Jung attempts to experiment the conditions of traditional painting and seek pictorial ways to break limits beyond the canvas. She has been working to explore the memory and narrative that could be seen beyond the surface through the painting, which is a physical image on the surface, and between painting and space, and the image that activates in narratives.

Li Erpeng graduated from the Oil Painting Department at the Central Academy of Fine Arts (CAFA) in 2018, and he currently lives and works in Beijing.
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He has received First Prize for the Fine Arts at CAFA, the Inter Youth Artwork Award (2015), the Inter Youth Innovation Award (2016), the Originality at the Academy New Talent Award and the Outstanding Artwork Award from the Oil Painting Department at CAFA (2016). His graduation work Objects from an Ideal World was added to the permanent LYC Collection (CAFA Art Museum). In 2020, his work was collected by White Rabbit Gallery in Australia and recommended by TARGET magazine.

Danielle Lin (b. 2001) graduated with a Diploma in Fine Arts from the Malaysian Institute of Arts (M.I.A) in 2021 and quickly made a mark on the Malaysian art scene. That same year, she won the grand prize in Bakat Mahasiswa, a notable competition hosted by M.I.A and the National Art Gallery, establishing her as a rising talent. Known for her unique, allegorical style, Danielle’s work employs indirect, cynical, yet humorous puns to reflect life’s contradictions, often using cute characters to create a visual irony that resonates with audiences. Her exhibitions and curatorial work have further strengthened her influence, marking her as a voice of her generation.

In her recent solo exhibition, The Age of (Un)Innocence, Danielle explores the complex transition from childhood to adulthood, capturing the bewildering shift where once-stable truths become uncertain. The series examines young adults' awakening to a world where even respected figures face setbacks and opportunities often come through connections rather than merit. Through these works, Danielle encourages viewers to question societal norms and the reliability of surrounding structures, presenting a reality as whimsical yet unsettling as a child’s dream. Her insightful blend of humor, introspection, and social commentary has solidified her presence in contemporary Malaysian art, appealing to audiences through a fresh perspective on modern life.

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.


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.

Heejoon Lee creates abstract paintings from images of the natural world. In 2012, he earned a bachelor's degree in Fine Arts and Sculpture from Hongik University, and a master's degree in Fine Art from the University of Glasgow School of Art in 2014. In this way, the artist collects, edits, and brushes the accumulated experiences and daily images obtained from travels from close surrounding to distinct locations, and incorporated them into geometric shapes. The composed instant images add the texture and time of the accumulated paint to generate a new space on the canvas. In addition to the photo collage and thick matière geometric shapes in <The Tourist> in 2020, the artist shifts his focus from minor objects to the surrounding landscape and extends the visual experience beyond abstract painting to the experience of space in which architecture and painting coexist.

Ahn Soo-in’s work reflects sensations long experienced as a fragile human presence standing before nature—an existence governed by an exquisitely intricate cycle. Confronted with nature as a source of wonder and longing, the raw sense of inadequacy and quiet shame, along with the persistent desire to draw closer despite them, are carefully gathered and held within the pictorial space.

Leaving behind only the visible traces of nature, the artist reconstructs colour and texture into forms reminiscent of paper folding or modelling clay, revealing a tentative yearning to collect and preserve nature itself. This act of composition is not an attempt to faithfully replicate a complete form, but rather a metaphorical reflection on the posture of beings who live perpetually in states of incompletion—an exploration of longing directed toward wholeness.

Embarking on his career in 1991 as a freelance sculpture artist, Pawarest Choksaen (Doe) (b.1970, Bangkok, Thailand) transitioned into the role of Art Director at an advertising agency in 1997. In 2019, he made the pivotal decision to resign from the advertising agency, embracing a full-time commitment to his passion as a fine artist.

In his artistic journey, Choksaen delves into the lives of those in his community, keenly observing their gestures, activities, and diverse perspectives. Through the expressive medium of acrylic paintings, his works become windows into the stories that unfold in the everyday lives of individuals within different contexts.

Atreyu Moniaga is an Indonesian artist based in Jakarta. He gradu- ated with a degree in Communications and Visual Design from the Jakarta Institute of the Arts (IKJ) and started his career in the creative scene as a freelance illustrator and photographer. His works are influ- enced by dark fantasies with a tinge of surrealism, in which he com- bines visual symbolisms as a way to communicate his most private thoughts, feelings, and desires. Although he takes inspiration from somber sentients, his works are characterized by a whimsical universe filled with beautiful ornamental details. Working primarily in paint- ing and drawing, Atreyu has recently explored sculpting and remains open to cross-disciplinary collaborations. 

Complex emotions that are often perceived as negative, such as despair, grief, and anguish but they are fuels to his artistic process. Moniaga tries to convey these emotions through the visual universe he invented. Incorporating reference from popular culture, medie- val legends, and religious stories, Moniaga crafts symbols and coded visual languages in his paintings as a way to express his innermost thoughts, feelings, and desires. He hopes his audience can find a source of hopefulness and self-acceptance to confront their own grim facets. He often allows himself to be lost in his own thoughts, where He feels unbound in creating these fictional stories and characters found in his works, his universe. 

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.

Jack Kabangu (b.1996, Zambian) is a Copenhagen-based self-taught contemporary artist whose practice fuses the rhythms of urban culture with the layered identity of the African diaspora. His paintings are charged with bold color contrasts, tactile textures, and recurring mask-like faces that recall both tribal iconography and contemporary street culture. Drawing inspiration from graffiti, hip-hop, and personal memory, Kabangu stages the dualities of joy and pain, beauty and ugliness, light and darkness in a raw yet poetic manner. Using brushes, fingers, and scrapers, he leaves visceral traces that infuse his canvases with immediacy, evoking echoes of Jean-Michel Basquiat while forging a distinct visual language of his own. Rapidly gaining international recognition through exhibitions across Europe, Asia, and the U.S., Kabangu is emerging as one of the most compelling voices reimagining identity and expression in today’s global art scene.

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

The artist expresses what is difficult to put into words through drawings and writings. Her work is particularly inspired by the light of spring and summer, as well as books. Books, to her, are more than mere reading materials—they are both physical and intellectual mediums with a unique allure. Clear and tangible in hand, yet boundless in depth, books share a striking resemblance to paintings, a connection the artist continuously explores.
When faced with overwhelming moments or passing waves of solitude, she often finds solace in libraries and bookstores. In these spaces, where the energy of those who create books and those who seek them converges, the act of flipping through pages amidst unfamiliar crowds brings a quiet sense of comfort. Sometimes, without intention, she stumbles upon a sentence that feels as if it was meant just for her, experiencing a fleeting yet profound resonance. These moments are not grand revelations or life-altering epiphanies, but rather subtle, transient impressions—precisely because they are so brief and delicate, she seeks to hold onto them. Through light, color, and form, she translates these experiences into her art, inviting viewers to share in her quiet yet deeply felt reflections.

YuSeong Choe (b.1983) is an artist who moves away from the premise that painting must interpret reality or convey a specific meaning, focusing instead on the act of painting itself. Rather than constructing a completed image, she concentrates on the sensory responses and processes that unfold on the surface. Her work begins with visual impressions captured from everyday moments and with reactions to spatial conditions on the plane. The surface is not formed according to a predetermined structure, but emerges through the accumulation and layering of elements. Color generates form and space while remaining unfixed, flowing to create emotion and rhythm. For her, painting is not a final statement but an ongoing process that continually questions the notions of completion and harmony. Through surfaces that reveal imperfection and the potential for change, she explores the possibility of painting as a state in which meaning remains open and unsettled.

Joan Miro was a Catalan artist born in Barcelona in 1893. A painter, sculptor, engraver, and ceramist, Joan Miro was one of the main representatives of the Surrealist movement, marked by the exuberant character of his native province. In the beginning, he showed strong Fauvist, Cubist, and Expressionist influences before evolving towards a flat painting marked by a certain naivety and then sliding towards a more dreamlike work in a Surrealist spirit. From 1923 onwards, he created a style free of cubism in which a fantastic universe populated by strange symbols and geometric forms was born from his imagination. Miro tends towards an original combination of sometimes disturbing and sometimes joyful elements that plunge into the unconscious, the imagination, and poetry. His world is often magical and strange. Over time, his paintings become more abstract and the forms more organic, even though a theme is always recognizable.

In a space in between composition and abstraction, April Yang continues to use painting as a common language that includes individual appreciation. She obtained her MFA in Painting at the Royal College of Art after studying Painting at the Korea National University of Arts, and she has exhibited her work both in the UK and in Korea. Her interest in life derives from her diasporic background, having lived in several locations, and been exposed to other cultures since she was a young child. She also looks for ways to communicate across linguistic and cultural barriers. She enjoys in illustrating the spirit of mankind and environment in a range of materials and scales, whether it be in a vibrant portrait or an abstraction with a focus on color and line. Her work is intuitive and sensitive, and she hopes to appreciate it with reflection and contemplation to purify visitors’ minds and consciousness and find peace and optimism.

Han Sang-A translates the emotions and memories experienced at pivotal moments in her life as an artist, a woman, and an individual into her own unique artistic language.

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.


Eunju Jeong is an abstract artist currently living and working in Daegu, South Korea. After graduating from a Masters degree in Western Painting at Kyemyung University, Eunju Jeong studied abroad at HBK Braunschweig in Germany, where she reached a deeper dimension in her color surface abstract paintings through a calm and stable exploration of the feelings and sensations of color. The artist focuses on expressing her inner flow through various colors that surface the canvas, and has had numerous solo and group exhibitions in various cities at home and abroad (need the names), working both on various flat works and semi-cubic sculptures. For over 30 years, Jeong's work has gone through a process of transformation, from painting to semi-cubic abstraction on acrylic and wooden boards, to a return to painting on canvas. To this day, she continues to work on imagining, contemplating, and dreaming through material and physical attributes, while evoking the emotional and tangible, as well as sensing what cannot be verbalized, codified, or most importantly, reproduced. Jeong's paintings are similar in appearance to chromatic abstraction through the  paint smears, brushstrokes, layers of color, the subtle spaces and crevices they create, the trajectory of the paint as it flows toward the floor by the law of gravity, and the way it smears and solidifies. It also allows us to see the myriad traces of the painting's progress and the passage of time that reveals all of its processes. These dense, wet paintings, with their cool, bold brushstrokes, are at once highly performative and a longing for a representation of a world that cannot be represented, a world that lies outside of visibility but is clearly felt and sensed. At the same time, they are paintings with impressions and tones that evoke a very specific empathy with the beautiful nature.

Sculptor, performer, photographer, architect, curator and blogger, he is known internationally for his provocative and political art. He is an opposition figure to the Chinese government and an emblem of freedom of expression in China, openly criticizing the Chinese government’s position on democracy and human rights. Ai was among the first generation of students to study abroad following China’s reform in 1980, and lived in the United States from 1981 to 1993, attending the Arts Students League of New York, the University of Pennsylvania and the University of California, Berkeley.

Matthew Antezzo (1962, USA) in the 90s made a substantial body of work which took as their models photographic reproductions that he found in magazines, catalogues, monographs and publications dedicated to contemporary art, particulary art from the late Sixties and the early Seventies, the era that witnessed the birth of the most radical neo-vant-garde movements of the postwar period.

Artists