Mona Lee is an artist who uses her paintings to capture memorable experiences and feelings she encounters daily. She has interacted with the public through her work since graduating with an MA in Painting from Central Saint Martins after studying Painting at the Chelsea College of Art in London. Her work usually uses brown colours reminiscent of vintage black-and-white photos, reflecting the artist's themes of nostalgia and recollection. Her soft, lyrical paintings evoke universal memories that are ingrained in all of us and serve as a sensory tool to generate empathy. For example, she believes that her paintings, recalling the jazz and classical music she listened to in the 1990s, would allow busy people to relax while appreciating them.

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.

Chris Measor, born in Ottawa, Canada in 1984, graduated from the Musashino Art University in Japan. He has participated in numerous group exhibitions both domestically and internationally, including two solo exhibitions in Thailand and South Korea. Based in Busan, he continues his artistic endeavors and is an artist whose international career is highly anticipated.
Chris Measor expresses various themes in his work, including European mythology, satire, philosophy, history, politics, and film, by anthropomorphizing animal characters. The animal figures in his works, such as cats, dogs, and rabbits, serve as engaging mediums that attract the audience's interest and guide them through the narrative. By using animals as motifs, the artist avoids potential biases that might arise from depicting human characters, where aspects like race, class, and age could distort the essential meaning he intends to convey. He aims for viewers to immerse themselves in the storytelling without preconceived notions. The artist encourages a reflection on the everyday characters that might be overlooked and hopes that each character in his works represents the protagonists of life, inviting the audience to explore their diverse stories. He creates a layered base on wooden panels using gesso and sanding techniques, applying acrylic gouache and acrylic ink to achieve depth and detail in his artwork.

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.

Maverick Abac's practice explores painting and collages on various media as a reflection of his consciousness and upbringing. Navigating the realm of memory, his works are known best for their pop surrealist meditations of our individual and collective psychological experiences.

Alex Jo’s work, which is bright, bold, and colorful, is in stark contrast to his actual appearance, who enjoys wearing achromatic colors and has an introverted personality. The reason why he prefers bright and colorful colors in his works is that he can express himself in a different way that he cannot show outwardly. While using pop-up colors as point colors, the greatest charm of his work is the comfort that stands out in harmony. The balance of pop-up colors presents the coexistence of comfort and splendor. Alex Jo composed and developed this color coordination based on organic and vintage colors which is inspired from the old pillars of traditional Korean houses and naturally dyed Hanbok (Korean traditional wear) garments with fruits and plants. In his work, what stands out along with the strong colors are the straight lines that give off a masculine feeling. It is also a beautiful characteristic of Alex Jo’s work that he has completed the subtle emotional delivery that harmoniously completes a rather cold line and a warm story by using the story of the artist's own warm sensibility as a message while using masculine shapes as the main motif. 

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. 

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.

The artist Lee Seokyoung, who expresses the ventilation of everyday life through her painting work, transforms the complex state of daily life into expansive colors and uses the technique of "erasing to draw" on the wet surface of the paint, leaving only visual language and sensory experience. The process of revealing the broad colors on the white canvas creates a space where the body of the painting can take control. The live brushstrokes, made in a single sweep without layering multiple coats, demand the artist's intense concentration and create a composition that breaks free from conventional and rigid systems. In this process, by erasing between the wet paints, the work is not obliterated but reborn through exposure, transforming into a neutral and pure form of language.

Dohyun Kim has visually expressed internal rest, recovery, and stability on the canvas. He fills the canvas with irregular patterns of cardboard shaped in flat waves and colors it with stable hues reminiscent of nature, abstractly visualizing the human inner realm. Within the screen constructed of repeated lines and gaps, and within the rhythm of layered and filled colors, he builds the order of spontaneously emerging forms, colors, and spaces.

Ian Ha (b.1997)aims to explore various possibilities of spatial illusions on flat surfaces by irregularly editing various materials and arbitrary subjects. Everyday objects, commonly seen in Ian Ha’s work, are dissected and rearranged by the artist, blurring the boundaries between painting and reality, while posing questions about the reality itself. This reflects the artist’s attempt to reproduce the contemporary phenomenon of desensitization to the flood of random information and images that are often not easy to filter or control, and also reflects the artist’s contemplation on how two dimensional art can be convinced in a technologically advanced society where the gap between virtual space and reality is gradually narrowing.
Ian Ha has B.F.A. in Seoul National University and is a candidate for M.F.A. in Columbia University School of Visual Arts. His solo exhibitions include Shifts and Echoes, Fragment Gallery, New York (2023); The Uncanny, Rabbit and Tiger Gallery, Seoul (2022). The artist also participated in group exhibitions such as in media res, The Blanc Gallery, New York (2023); Standouts, Fredric Snitzer Gallery, Miami (2023); Trajectory of Time, Space U, Bundang (2022).

Ryoko Kaneta
b. 1991, Ibaraki, Japan

Kaneta takes inspiration from Ancient Japanese Philosophy, including ideologies such as God being one that dwells in all beings. Her artworks express the existence of Gods, Natural Phenomenons, and knowledge that goes beyond the human mind. The narrative exists but only as a fleeting spectacle of Nature which within holds the quintessential elements that Kaneta personifies through a female figure. Her paintings are dreamy populated landscapes on a large scale, they are a celebration of nature’s ephemerality as they emphasize the frailty of time, the phenomenon of weather and all the dramatic seasonal transformations that come with it. Employing her very own soft delicate acrylic colour technique, Kaneta is at the same time influenced by Rinpa and Kano Schools in their approach of painting through the eye of Ancient Japanese literature that portrays such scenes of nature.

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.

Zelalem Merga, a visionary artist hailing from Addis Ababa, Ethiopia, is known for his profound connection to emotions and the natural world. Born in 1989, he earned his BFA from Addis Ababa University Alle School of Fine Arts and Design (Graphics Department) in 2013, and currently resides in the vibrant Ethiopian capital.
Driven by passion and an unwavering commitment to innovation, Zelalem transforms discarded materials into mesmerizing works of art. His creative process is fueled by an innate desire to elevate the ordinary, encouraging viewers to reconsider the value of everyday objects and contemplate their own consumption habits.
In Zelalem's artwork, there is an underlying sense of disquiet, reflecting the complexities of the modern world in which we live. Through his masterful use of recycled materials, he constructs captivating portraits that challenge the status quo and leave a lasting impression on the art world. Each piece is a testament to the transformative power of art and the potential for renewal within ourselves and the world around us.
Zelalem Merga's work is not only an ode to the beauty and splendor of nature but also a celebration of human creativity and resilience. As an artist who truly embodies the essence of Artue's brand, we are honored to showcase his remarkable talent and share his unique perspective with our community of art enthusiasts.

Twenty-one artists were invited to pay homage to Goya: Fernando Arrabal, Miquel Barceló, Beatriz González, Jenny Holzer, Cristina Iglesias, Anne Imhof, Alfredo Jaar, Koo Jeong A, Alexander Kluge, Robert Longo, Cildo Meireles, Precious Okoyomon, Philippe Parreno, Raymond Pettibon, Elena Del Rivero, Rachel Rose, Thomas Schütte, Santiago Sierra, Rosemarie Trockel, Luc Tuymans, and Adrián Villar Rojas.

Doyo is a collage artist that focuses mostly on album cover design, print artwork, and art directing. The artist who became interested in collage work in 2016, studies Photoshop by himself and combines every item to communicate imagination and romance. Through the artist's unique use of colour and atmosphere, conveys to modern people the romance and relaxation of daily life.

Kim Ji-yoon (b. 1995) documents the landscapes she encounters through video and images, and reconstructs them into painting by focusing on the passage of time, the energy permeating the scene, and the fleeting moments of change and flow. Scenes easily captured with digital devices and smartphones are re-experienced through the screen, carrying layers of time and traces of light and temperature that were not perceived in the moment. The artist captures these sensations and builds time onto the canvas through the repeated gestures of brushstrokes and the act of rubbing the painted surface, using oil paint as her primary medium. The accumulated colors and textures on the canvas become another landscape of time—formed through the warmth at her fingertips and the resistance of the paint as she works across the surface.

Gus Monday (b. 2000) studied a Foundation in Art & Design at the City & Guilds of London Art School in 2019, and currently studying painting for a master’s degree at Royal College of Art (RCA) in London. He grew up within a Southern African context and he thinks that to large an extent it shaped the way that he is socially and culturally aware, especially moving between a developing nation and this 1st world country. His works are representations of spaces utilising coded narratives and symbols, some observational whilst others autobiographical. He is working with beyond the realm of the personal, toward spaces with more social significance.
In addition, several group exhibitions are planned for 2024 in several countries, including Korea, the UK and Spain.

Georg Baselitz has had a profound influence on international art since 1980 and is indisputably one of the most important artists of our time. He shaped a new identity for German art in the second half of the 20th century; in reaction to the trauma and tragedy of the Second World War, he developed an artistic vocabulary which draws on the work of his forebears, whilst remaining unique and wholly individual. Since then, Baselitz has consistently renewed his practice through formal developments, often responding to art history and his own extensive oeuvre to develop his central themes through an ever-evolving, yet distinct, mode of artistic expression.

The artist has been painting his compositions upside down since 1969. For Baselitz, this novel format was a way of emptying form of its content, navigating between abstraction and figuration, and revolutionising a medium that was then regarded as irredeemably conventional. His directly tactile method of painting with his fingers in the 1970s encouraged a freer use of colour and material that would come to the fore in his expressionist colour fields of the 1980s. This was a seminal decade for the artist, opening with his selection to represent Germany at the 1980 Venice Biennale alongside Anselm Kiefer, which marked his first foray into sculpture.

A Bunch of Mauve Tulips Remind Me of the Days in London

There I Stood

Leah, Enjoying Cold Water

Swimming Pool

Night Night!

A Walk in the Pouring Summer Rain

Big Pot of English Lavenders and Bees

Writing in Blue Ink

Salmon Avocado Salad

Between You and Me

A Little Boy Blows Soap Bubbles

Waterfall on my Palms

We Are such Stuff as Dreams Are Made on

Mornings by the River

My Cozy Hazelnut Sweater

PWPOTH (Max)

PWPOTH (Dina)

Fruit Plate

Orchestrating Vulnerability

PWPOTH (Anni)

PWPOTH (Beryl)

PWPOTH (Loretta)

PWPOTH (Peter)

Pear on head

Pears

Heads with pigeon

Refracting Perspective

Cactus In A Green Pot

Cat Scholar M2

Rabbit Potter

Kitty

Baby Troy at Play

Auntie & Niecey

Big Wheel

Sublime Condensation

Parallel Greens

Lovers

SKULL

Autopilot

Stressfest Wasteland

square_biːt 02

Water Reflection

Wandering Bubbles

Deep Tree

The Place Made by Bubbles

The Act of Collecting Softness

The Expression of Watching

Cluster of Flowers in the Water

Water stream

Water mirror

The White Breath of the Tree

The Gesture of the Bubble

The Body of Permanence

The Body of Permanence and the Outside

The Bubble Stirs the Flow

The Bubble Softens

To Bear Seeds

The Flowing Tree

Clustered Flower

Clustered Flower and Tree

The Place Where It Grows

The Fruit Following the Roots

The Root Seeking the Ground

Shaping

Movement of Water

Vacuum and Bubbles

Drawing in the Air

A Landscape Unfolding Through a Stream

The Rain of the Bubble Island

A Stream Touching the Surface

Tender Grass

Persistent Grass

Trees Looking in the Same Direction

Color in Motion

Connecting Water

Reading Lightness Floating

Writing Lightness Floating

A Walk in the Air

Movements on the Surface

The Water Can Gaze at the Vast Sky

A Flowing Piece

Water Mist 2

Water Mist

Breathing Out

Water unbound

BAMBOO-2201

BAMBOO-2310

BAMBOO-2306

INTROSPECTION-2318

INTROSPECTION-2312

INTROSPECTION-2427

DISPENSATION-2401

INTROSPECTION-2309

INTROSPECTION-2313

INTROSPECTION-2504

DISPENSATION-2404

Farewell

Bloodguilt

Wisdom of age & ferocity of youth

GANGALA

Chandelier

Boat Ride

Mountain_4

Mountain_5

Nude at the easel

The Artist...

Garden Kiss

Afro Nude

Still Life 

The carpet

Swimming colors I

Swimming colors Il

Conversation

Model in the studio

Love Bath

Sunset in the studio

Waiting the sunset

sunset

Sleeping the beach

Futurs

Wenchi

Figure at sunset

Monstra I

Sleeping nude at the beach

Period

Samo

I know Love

Mother and child

Bleu studio aa

Bleu

Deep blue

Garden Love

Flower girls

Ever Goya THE PRINT PORTFOLIO

Ever Goya, Revue

Nearby Oddness; A garden inside it

Nearby Oddness; In Mild January

Nearby Oddness; Lost in reflection

SHIMONOSEKI TRAVEL

Near by Oddness; Library Station

Nearby Oddness; 2019

Nearby Oddness; Into The Unknown

Live Is Life

Nearby Oddness; Komm Süsser Tod

Nearby Oddness; 2020

Nearby Oddness; Harmonize

HAKATA TRAVEL

BUDAFEST TRAVEL

Nearby Oddness; Missing Garden

오마이걸 - 불꽃놀이

프리다;  Bellas flores, No tragedia.

Nearby Oddness; The Classic

Silent Autumn

Early Winter Wind

A Summer Forest Holding Autumn

Forest in a Moment

Quiet Light

Autumn, Light of the Wind

Suspended Motion

Dancing Trees

Erased Landscape

Window of Winter

The Tree by the Window

Winter Seeping into the Dark

Shadows of Verdure

Winter Dawn

Wind Through the Leaves

Breath of Autumn

Edge of the Landscape

Institutional Performance, Tate

Institutional Performance, V&A

Georg Baselitz

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