Nonsenso works to fill gaps in space. She connects the world inside and outside by projecting floating memories. By collecting floating emotions, overlapping faces, and dispersing colours, the artist tries to communicate with the audience about herself. She is inspired by objects in the world that make up daily life, such as forests, trees, and nights, and shapes them through collage techniques to capture the results she senses while looking at them with a clear gaze. 

SanOh Lee works with materials such as soil, paper, and graphite to poetically reflect on life and death. By recognizing structural similarities in the ways text and image are generated, the artist explores diverse modes of creative language.

Drawing from elements found in books, Lee constructs relationships between text and image, unfolding compositions in a manner akin to writing. Through this process, the work expands into surreal visual landscapes.

The artist is particularly drawn to the image of the bird—as a medium that reveals what is sensed but unseen, such as intuition or premonition, and as a messenger that moves between the realms of the living and the dead.

Born in Ukraine in 1993, Katia Lifshin lives and works in Tel Aviv, Israel. She studied art at Pima College in Tucson, Arizona, before continuing her practice independently, gradually shaping a distinctive visual language.

Candy Koh is an artist, writer, translator, and (sometimes) attorney based in New York City. Much of her artistic practice stems from her interest in the historically spiritual and community-binding role of the artist across various human civilizations. A signature element of her works, date/time/weather stamps situate all of her works in a specific time and space, and allude to pervasive themes in her work: finiteness of the physical world, boundlessness of the unknown, and contemporary neuroses. She works in a variety of mediums such as painting / drawing, sculpture, installation, performance, and photo / video. She has shown her works at solo and group exhibitions in both New York City and Seoul, Korea. Her writings have appeared in art publications, such as ArtAsiaPacific, art critical, and Seaweed Journal. For her M.F.A. thesis before the K-Pop boom, she wrote “Investigating the Gangnam Style Phenomenon: Global Eurocentrism, Asian Masculinity, and Psy,” which examined the representation of Asians in American visual culture, and signifiers that transcend cultural and linguistic borders. She holds an M.F.A. in Art Criticism and Writing from the School of Visual Arts, New York City, and a B.A. in Sculpture and Literature from New School University. She is also a graduate of the J.D. program at Fordham University School of Law.

Fanko dreams of communicating with the world through creative activities based on her daily life. Life goes by and many things happen. Through paintings, she wants to remember the ordinary emotions that we miss or almost forget as time passes by. She said, “The character in the painting is myself, the artist, and at the same time symbolize the people around me. Sometimes I feel like I'm talking to them, and sometimes I feel like I'm listening to their story. I am fascinated by the shift of identity as this.”
The main character in the painting sometimes is an adult and sometimes a child. This emotion is what she feels about herself, and it is constantly being switched and overturned in her mind. The transition of a moment is the essence of her existence and identity. She is growing as a human being and an artist by depicting the ordinary emotions felt in everyday situations that combine self and others, the complex and the simple, the realistic and the imaginary. The story is told in a comfortable and natural way through the familiar style of the main character in the painting. Recently, she has been expanding her medium to include acrylic paint, oil pastel, pencil, photography, animation, and ceramics.

AhHyeon Lee materializes the unreal world created from the perspective of insects into physical space. After receiving her bachelor's degree in Painting from Kyung Hee University, she continued a master's degree in Painting at a graduate institution. She has communicated with the public through her works with shifting gaze and dreamlike colours that transcend the two-dimensional and three-dimensional since her graduation. The artist began her work by considering the invisible or unrecognized vision in today's visual environment and raises the issue of the incompleteness of 'seeing' as we perceive its contents. She eliminates the human subject and creates a symbolic representation of the insect's gaze through painting, crossing the tension that results from the world of insects being repeatedly created and destroyed by others, as well as the feelings of disgust and dread of insects from a human perspective. In her investigation of insect traces, she examined and experimented with the physical characteristics of mediums and invited viewers to enter an imaginary environment.

My work begins with the perspective of a person strolling alone through a city. People created cities and erected buildings out of necessity, but what truly protected the city, as people flooded in and then ebbed out, were the buildings that stood there, looking down on them. While some buildings possess great historical and artistic significance, most were ordinary, unremarkable buildings where people spent their daily lives. They were the face of the city, telling me different stories every day. People spend most of their time in the city, or more precisely, among these buildings. Above all, the city's buildings are built to be solid, and that's how they should be. I believe this mirrors the daily lives of people who live each day with a calm demeanor, concealing their complex inner selves. The buildings in my paintings, interwoven with lines that are solid yet gentle, linear yet organic, capture the emotions of those who live in the city.

As I mentioned earlier, I want to conclude by saying that every profession has a role to play within society.
As an artist, there's one story that I've always held close to my heart. This is a passage from a letter the painter Paul Gauguin wrote to a friend. I read it so long ago that I don't remember the exact text, but it's now a phrase I remember, slightly modified, as my own. "A painter is someone who captures the tremors of emotion so trivial and everyday that people often miss them and presents them to others." Even now, as an artist, this passage provides the basis for asking and answering the recurring questions, "What should I paint?" and "Why should I paint it?" It also fuels my hope that my work goes beyond simply expressing my emotions. I believe that my ongoing mission as an artist is to capture and visually present the tremors of emotion that people undoubtedly experience in life but fail to accurately express, or lack the need or space to do so.


Deborah Segun (b. 1994) is a multidisciplinary artist from Lagos, Nigeria, and now based in London, UK. She obtained a degree in Fashion Design at the Polimoda Institute of Fashion Design and Marketing in Florence, Italy in 2017. During her studies in fashion, she translated her own art
production into clothing, creating conceptual and sculptural wearable pieces.

Seo Jaejung’s work explores the translation of perception and spatial sensibility into visual form. Drawing from architectural environments—described as “a space within a space”—she uses elements such as columns, stairs, and arches as mediators that generate layered visual associations. Her compositions often begin with a single line and unfold through the deconstruction and recomposition of architectural structures, revealing psychological forms that exist between completeness and incompleteness. These processes create an “architectural psychological space” where reality and unreality, reason and emotion, intention and chance coexist. Through such multilayered structures, Seo seeks to develop a painterly language that blurs the boundary between two- and three-dimensional space, offering an expanded experience that opens onto another realm.

Kang Kang Hoon's portrait series not only captures external features but also delves into the deeper emotional essence of each subject, inviting viewers to confront their true selves. His daughter, a recurring motif, serves as both the focal point of the artwork and a reflection of Kang himself. In a recent oil painting series, Kang incorporates symbolic object cotton, inspired by a yearning for his recently deceased mother. The contrast between withered branches and bloomed cotton subtly conflicts and harmonizes, contemplating intergenerational connections. Employing cotton as a metaphor for the enduring connections within humanity, Kang explores broad themes of the past and future on the delicate realm between figuration and abstraction.
Major exhibitions featuring his works include the Jeju Museum of Art, Jeju; Wooyang Museum of Contemporary Art, Gyeongju; Clayarch Gimhae Museum, Gimhae; Gyeonggi Provincial Museum, Ansan; Jeju Museum of Contemporary Art, Jeju; Gyeongnam Art Museum, Changwon, and Seoul Museum of Art, Seoul. His works are in the collection of the National Museum of Modern and Contemporary Art. He has been featured and sold out at numerous art fairs worldwide, including Hong Kong, Singapore, and Shanghai, and he continues to remain active internationally as one of the most recognizable, leading artists in Korean contemporary art today. 


Abang is regarded as one of the most famous artists for her unique and romantic depiction of us enjoying the modern day, which she achieves by using vibrant colours to reveal the mysterious line between daily life and the non-daily. After receiving a master's degree in illustration from London's Kingston University, she began to paint free-living individuals in vivid colours. Based on the catchphrase “Fun, Witty, and Romantic”, she is currently operating her own brand of design products called “My Real Abang,” including graphics for numerous periodicals, webzines, and album covers. Abang explores “things that keep my life rich, free, sexy and warm” throughout her works, and is actively collaborating with worldwide brands such as Spotify and Valentino, as well as broadcasting, product, and fashion firms to develop an 'Abang-like' style. 

Kitty Kaburo (b. 1987) is a Filipino artist of Korean descent. She works with various traditional and non-traditional mediums, incorporating each of their peculiar properties to simulate transformations and effects of time, the elements and human activity on our environments, communities and planet. Shegraduated from the University of the Philippines’ College of Fine Arts in 2015, receiving an Outstanding Thesis award and a series of videos has been shortlisted for the Ateneo Art Awards in 2017. Aside from the Philippines, she has also exhibited in varied locations, including Indonesia, Taiwan and South Korea.

SoYeong Kim reflects on urban life through photos taken in daily life, capturing fleeting moments that evoke a sense of both illusion and emptiness. Her work is characterized by creating illusionary scenes by adding painterly ambiguity to real landscapes. She paints by repeatedly layering vertical strokes of acrylic paint on traditional Korean paper (Jangji). The unique textures created from the combination of Jangji and acrylic form the depth and richness of her works. The warm texture of Jangji contrasts with the cold, artificial texture of acrylic, and through the brushstrokes, these elements merge to create a dualistic atmosphere in her compositions.

Artist GBDAY’s interest in art grew when he first encountered skateboarding culture and fashion during his adolescence. The artist later began to work on graphics and paintings during his studies in graphic design at university. His artistic stage name, "GBDAY," stands for "Good Day & Bad Day," which contains the artist's desire to illustrate different experiences and emotions of his daily life.

His stage name and its meaning profoundly influenced the world of his work and its creation. 

The artist gains inspiration from human relationships, emotions, and social phenomena he captures daily. His work mainly deals with themes around love, separation, emptiness, and death. The artist links these themes with the skeleton motif, influenced by tattoos, skateboarding culture, and
hip-hop and band music he listened to. The Skeleton motif symbolizes an equal and pure being that everyone, regardless of gender or race, can sympathize with and illustrates the world beyond reality and death. Moreover, Cherry denotes the uncertainty of life, desire, and fruition, and Butterfly portrays life after a newborn death. 

GBDAY uses drawing as a subject that best reveals himself. His works mainly focus on graffiti and pen drawings, although he continuously experiments with various styles and media to develop a unique work. He currently uses graphite and acrylic paints for most of his works, aiming to expand his ways of expression. Furthermore, the artist frequently presents parody-based works where he adds a twist to an existing painting or work that may be familiar to the audience. The artist claims he enjoys creating parody-based works because he wishes his audience to approach art more easily and have some fun interacting with his work. 

"Life Goes On" is a message that signifies not only GBDAY's art but also his life philosophy.

The artist intends to deliver joy and happiness to the audience through his work, conveying the bliss of our life journey. GBDAY is interested in exploring new styles and materials to convey a wider range of emotions in his art.

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.


Yaikel grew up in a city in Chile. The primal power of Mother Nature, urbanity, deserts, folk culture, ancient civilizations, and legends are the main materials that provide him with artistic inspiration. He says “I draw inspiration from elements in nature and the landscape that captivate my attention, as well as iconic objects and places from our culture. The idea is to contemplate how we relate to one another and to our environment.” He explores materials that span from muralism and painting to screen printing and ceramics to seek to develop a unique language through which I can communicate visually with the viewer.

Sujin Lee captures the quiet, psychological unease embedded in the everyday. Borrowing emotionally neutral imagery—film stills, mundane objects, and diagrammatic forms—she turns them into compositional experiments that probe the instability of feeling. By revealing only fragments of the human figure or treating still life as a kind of portrait, Lee transforms personal experience into a shared sensibility. Her paintings balance tension and stillness, strangeness and calm. In her work, anxiety becomes not a singular emotion but a medium for painterly exploration, reframing how emotion itself can be seen and understood.

Tos Suntos
b.1992, Bangkok, Thailand

Tos Suntos (Panyawat Phitaksawan) is a Thai Artist and Designer known for his outstanding graphic design which can apply to 2D and 3D objects in unconventional style. For his professional artist, his outstanding work is he changes the visual of traditional Thai to a combination of Thai style, universal monsters. pop culture and modern art.

Since the 2014s, TOS SUNTOS has been an illustrator who created his work from surrounding culture, human lifestyle and memory of childhood. When he was young, he was interested in Sci-fi movies and monsters. Therefore, he brings all of his experience combined with pop culture and retro style to his original art works. Tos Suntos first gained international attention when he was commissioned to Adidas Headquarter as representative from Thailand.
 
Tos Suntos has embedded Thai Identity in his delightful works in the biggest Adidas shop in the center of Bangkok Thailand. His talents are expressed in painting, digital paint, graphic design, collage art and sculpture; which are full of delicate patterns, super detail and layers of art.

장 미셸 오토니엘은 프랑스를 대표하는 현대미술가로서, 그의 예술 작품은 주로 설치미술, 사진, 조각 등 여러 매체를 통해 표현된다. 삶에서 이뤄지는 다양한 만남과 문화에서 끊임없는 영감을 받는 그는 80년대 후반부터 이를 자신의 개인적 경험과 결합해 왔다. 특히 주재료 유리를 이용한 독특한 작업 방식으로 유명한데, 다채로운 색상과 크기, 투명성, 반짝임 등을 활용해 인간 존재와 관념, 삶의 의미를 다룬다. 영롱한 그의 유리구슬은 수공 과정에서 생긴 일부 흠집들과 공존하며 깨지기 쉬운 유리의 본래 속성을 동시에 연상시킨다. 오토니엘은 이를 인간 삶과 연결해 현재를 살아가는 모든 이들이 상처와 고통을 극복하고 세상과 마주할 수 있는 희망을 전한다.

오토니엘은 1992년 제9회 카셀 도큐멘타 초대작가로 주목받았으며, 2000년 파리 지하철역 개통 100주년 기념 프로젝트로 세계적 명성을 얻었다. 최근인 2019년 루브르(Louvre)의 요청으로 작업한 회화 작업이 미술관에 영구 소장 되었고, 올해 문화 발전의 공로를 인정받아 프랑스 최고 영예인 레지옹 도뇌르 훈장을 수상했다. 한편 그의 작품은 미국 뉴욕 MoMA, 뉴욕 브루클린 미술관, 파리 퐁피두 센터, 파리시립 현대미술관, 까르띠에 현대미술재단, 이탈리아 베니스 페기 구겐하임 컬렉션, 서울 삼성미술관 리움 등에 소장되어 있다. 

Jean-Michel Othoniel, a prominent contemporary French artist, is renowned for his works spanning various mediums including installation, photography, and sculpture. Drawing continuous inspiration from diverse encounters and cultural experiences since the late 1980s, he blends these influences with his personal experiences. Othoniel is particularly acclaimed for his unique approach using glass as his primary material, employing a spectrum of colors, sizes, transparency, and shimmer to explore themes of human existence, concepts, and the essence of life. His luminous glass beads, coexisting with imperfections from the handcrafting process, reflect the fragile nature of glass, symbolizing hope for all to overcome life's challenges and pain.

Othoniel gained international recognition as an invited artist at the 9th Documenta in Kassel in 1992 and furthered his reputation with a major project commemorating the centenary of the Paris Metro in 2000. His recent achievements include permanent inclusion of his painting series by the Louvre in 2019 and receiving France's highest honor, the Légion d’honneur, for his contribution to cultural development. His works are housed in numerous renowned collections such as the Centre Pompidou, Fondation Cartier pour l'Art Contemporain, and the Louvre Museum Paris; Museum of Modern Art and New York Public Library, New York; Boghossian Foundation, Brussels; Leeum Samsung Museum of Art, Seoul; Budi Tek-Yuz Museum, Shanghai; and the Peggy Guggenheim Collection, Venice.

David Surman's artwork captures the viewer's attention with its energetic brushstrokes, vivid colors, and crisp textures. Cute but not overdone, humorous but not serious, his expressionistic paintings of the natural world are a perfect fit for THEO, a gallery that strives for diversity, as they carry a meaning that hasn't been shown before, yet still speak to the viewer's intuitive gaze.

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.

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.

Ho Sangun captures familiar yet strange scenes encountered in everyday life or while moving from place to place, recording them through photographs and drawings made with paper and colored pencils. Chosen for their ease and accessibility as recording tools, paper and colored pencils have become defining materials in Ho Sangun’s practice; they allow him to contain moments that might seem trivial or insignificant, sometimes spontaneously, sometimes with great delicacy, while pinpointing meaningful details within them.

Through the act of “drawing,” Ho Sangun has long communicated with the world—listening to others’ stories, living as an observer, and speaking about what he sees. If Hosanggeun Reproduction Center, a project he has sustained for over a decade, represents a way of remaining open to the world by “listening” to the stories of others, then drawing—his primary practice—functions as an act of “speaking.” Through drawing, he narrates what he has observed while drifting and moving through life, as well as what he has encountered by chance.

Qwaya is an artist who has built a distinct painterly world rooted in quiet nocturnal reflection and personal records. For him, night is a time to sort through the day and revisit memories—a space for contemplation that remains grounded in reality yet gently distanced from it. This sensibility appears on the canvas, where figures and still lifes coexist with a subtle sense of separation.

Though he employs bright and vivid colors, a quiet darkness and stillness permeate his work. His figures bear calm, ambiguous expressions, which he considers the most natural state. While his work reflects a longing for an ideal, it also closely resonates with the realities of contemporary life.

Clement Rodzielski queries the original meaning of images through their channels of distribution and reproduction. According to principles of duplication and re-presentation of the images used, the artist poses a reflection of the tumult of images from visual communication.

Clement Rodzielski's work has been shown in exhibitions held in international institutions, among them: Musée d’Art Moderne de Paris, Paris (2021; 2017; 2010); Kunstverein Langenhagen, Langenhagen (2019); Goton, Paris (2017); Villa Arson, Nice (2015); Synagogue de Delme, Delme (2015; CNEAI, Chatou (2014); Indipendenza, Roma (2014); Palais de Tokyo, Paris (2012; 2008; 2009); FRAC Champagne-Ardenne, Reims (2012); Fondation Pernod Ricard, Paris (2011; 2009); Musée National d'Art Moderne, Paris (2021); Centre Georges Pompidou, Paris (2020; 2009); Bétonsalon Centre d'art et de recherche, Paris (2005).

Clément Rodzielski's works have joined the collections of the following institutions: Musée National d'Art Moderne, Centre Georges Pompidou, Paris; Musée d'art Moderne de Paris, Paris; Centre national des Arts Plastiques, Paris; Kadist Foundation, Paris; FRAC Champagne-Ardenne, Reims; FRAC Île de France, Paris; FRAC Grand Large - Hauts de France, Dunkerque.

Nosenso of Islands 01

Flow

Film

Untitle

Object Series - 01

The world of zero

Time

Forest Series - Summer rain forest

Forest Series - Calm forest

About memory

Object Series - 05

Collage of Rhythm 03

Collage of Rhythm 02

Harmony of elements

Nosenso of Islands 02

Empty Spaces

Forest Series - Green forest

Object Series - 02

Pictures of Me

Door of memory

Forest Series - Norwegian forest

Object Series - 04

Trick

Futurism

Forest Series - Line forest

The things we speak of as harmony

Forest Series - frost forest

Collage of Rhythm 01

The rhythm of my soul

Bird

Afterimage

Things stored during the winter

Eyes of Three Birds

Aile1

Aile2

Aile3

Dancer

Halo

Meadow

Floral Immersion

Spinner

Portal

Flower Diver

Soft Spot

Untitled (20230712-1)

Untitled (20230712-2)

Standing at attention to everything

A thing that disappears suddenly and appears again

Loud as It was a Lie

Area that Is Not Invaded

Approaching rubbing sound

Shouting in silence

We must see a rainbow!

Living in an exposed place

World without fantasy

We are repeating this situation

A proper position of a late morning

Passing through the silent air

Pretty soft exterior

A peaceful land

Looks like the wilds, but it is the core

Cave in a cave

Morning has dawned

Calming scenery

A proper position of an early afternoon

Corner Building in Paris

Hello,Is Everyone Doing Well

Soaking It All In

Uncertain Organic Space 22

Uncertain Organic Space 21

Uncertain Organic Space 20

Uncertain Organic Space 25

Uncertain Organic Space 26

Cotton (230817)

After Sunset (240709)

Frances Ha

Mooood triplet

ARTUE

Isn't it sweet?

Twin Fates

Lilac Girls

틀과 줄기 (Frame and Stem)

Melting Statue

Flesh 1

Expression

100 Keys

Flesh 3

Overload Image

The Sinking Glass

Ghost Flowers

Flesh 2

The End of One’s Gaze 3

Face

Fall Asleep

Empty Frame

A Shell Grave 2

A Shell Grave 1

A Pile of Shells 2

A List of Things

Impression

Tension 3

From Behind

Red Gem

Hand, Light, Shadow

A Single Flower

Trace

Remains 2

Beneath the Skin

The Shadow of an Object

Bouquet

Flesh Without Flesh

Low Light

Hands

The Weight of Skin

Incident Light

Remains

Affect

Image of an image

Outside of Light 2

Place of Gaze

Beyond the Fingertips

Outside of Lights 1

Green Beans

Melting Santa

Heart 2

Heart

Flexible frame

Broken sign

Great void

Weird space 1

Night view

The Scientist's room

A Piece of light

Show Window

Hallucinatory hero

Crumpled paper

A Pyre in Flames

OUTER SPACE EXPLORATION KIT

A Perfectly Ordinary Scene

Two Wrapped Offerings

Butterfly Shadows Over the House

A Shell Grave 3

Mobile

The Coral and The Conch

The End of One’s Gaze 2

Object

Another Object

ICON

Eye Contact

Uncontained

프레임 Frame

기억 Retention

향하는 손 Reaching Hand

시선 (The Gaze)

정감 2 (Affect 2)

산호와 조개껍데기 (Corals and Shells)

머리맡의 괴물들 (Monsters at My Bedside)

뒤집어진 개구리 (The Upended Frog)

부품 키트 (Component Kit)

Good for Now

Wanted

Portrait

Mélange

To Reach You

Every Day Every Moment

Cherry Head

Breaking Bad

The Blue Hour No. 4

Night’s Edge

Too Much Warmth

Filling in Black

A Dream That Comes With Freedom

The Moon Rose

Dazzler

Enkidu and the Cedars

A Toad at Sunrise

Artists