KANG Cheolgyu (b.1990) depicts narratives of a fictional world with a realistic touch. The mysterious otherworld within his canvas is a landscape that metaphorically projects his own reality. People and animals in exotic nature, symbolic events, each are closely related to his emotions and psyche. The black sphere that appears in Enemy (2023) represents a physical manifestation of complex emotions that are difficult to handle, such as anxiety, compulsion, expectation, delusion, disappointment, and depression. The artist's reality is sometimes perceived as overwhelmingly helpless, like the Big One (2023), which remains unflinching even when struck by a decisive spear. In Hunting Diary (2023), a figure who prepares raw meat from the wild for survival is depicted as an incompletely segmented body or self-divided into several people.




KANG Cheolgyu was born in Gimcheon, Korea in 1990. He received his BFA in Painting and MFA in Fine Arts from Hannam University. He has held solo exhibitions at Chapter II (Seoul, Korea, 2022), M2 Project-room at Lee Ungno Museum (Daejeon, Korea, 2021), Artist Residency TEMI (Daejeon, Korea, 2020), Gallery Gabi (Seoul, Korea, 2017) and more. He has participated in group exhibitions at ARARIO GALLERY SEOUL (Seoul, Korea, 2024), Doonamjae Art Center (Seoul, Korea, 2023), Gallery Baton (Seoul, Korea, 2022), Daejeon Museum of Art (Daejeon, Korea, 2021; 2018), Galley Gabi (Seoul, Korea, 2017), Gallery Gwang, Sejong Center (Seoul, Korea, 2015) and more. He was the artist-in-residence at the Artist Residency TEMI (Daejeon, Korea) in 2020 and the Studio White Block (Cheonan, Korea) in 2023. His works are collected by institutions such as Seoul Museum of Art, National Museum of Modern and Contemporary Art’s Art Bank, Daejeon Museum of Art.

Peter Ravn explores the existential conditions of being human in contemporary society. Through the loss of identity, control, and certainty, he exposes the latent tension that defines modern existence. His figures appear simultaneously as agents and as victims, inhabiting a liminal state between action and surrender. Rather than offering a linear narrative, Ravn constructs staged scenes and cinematic mise-en-scènes that invite the viewer’s interpretation. His visual language, informed by his background in graphic design and film, evokes theatrical moments of conflict and reflection—an aesthetic inquiry into the psychological and social dimensions of anxiety.

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.

Key Minjung (b. 1986) has been actively involved in the Seoul art scene since her selection as a Young Creative at OCI Museum of Art in 2019 and her participation in the <Artist Takeover> at SongEun Art Space in 2021. Her exhibition at SongEun in 2021, which saw a significant integration of hanji (traditional Korean paper) work and glasswork, marked a pivotal moment in her career. Minjung graduated from Kaywon High School of Arts, Seoul National University’s Oriental Painting Department, where she also completed her doctoral program. Growing up in the structured curriculum of Korean academic art education, where she focused on traditional Eastern media, laid the foundation for her passion and research in this field. The connection between the artist and the medium s evident in Minjung’s work, which includes landscapes where thin hanji paintings float away from the wall, forming specific shapes on the floor, or instances where paintings hung by the window leave pictorial traces on the wall due to the translucency of hanji. Key continues to imbue a sense of materiality and eternity onto a series of transient moments through her artistic endeavors.

Philippe Parreno is a French Artist who rose to prominence in the 1990s, earning critical acclaim for his work that spans a diversity of media, including film, sculpture, drawing, and text. Parreno’s work redefined the exhibition experience by taking it as a medium, placing its construction at the heart of his process.
Parreno has exhibited extensively and has work in major institutions worldwide. His presentation at Cahiers d’Art inaugurates a year of major exhibitions and projects, including solo presentations at the Leeum Museum in Seoul, the Haus der Kunst in Munich, and an important project at the Fondation Beyeler in Basel.

Todam assembles fragments of memory to sculpt new afterimages. By presenting familiar subjects in their distorted, recollected forms, he renders the recognizable strange. His works hovering between warmth and unease add a subtle charge to each viewer's personal memories, opening space to reimagine the subjects that live within them. What appears at first glance to be roughly made is, in fact, the product of meticulous sketching and dozens of simulations. These deliberately planned imperfections carry a force strong enough to displace the clear, universally recognized image of the original.

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.


Soyoung Jeon brings onto the canvas plants she has grown and tended herself, as well as subjects and landscapes encountered repeatedly over days of daily walks. For her, “to see” is not merely to register visual information, but to engage in a synesthetic experience accompanied by the texture of surfaces, the volume of air, and even the scent of the wind. Through the accumulation of such sensations, she turns her attention to the layers of time formed in relation to her subjects, that is, to “relationship.” The beings she has met again and again, listening closely to what they seem to say, are often small, fragile, and easily overlooked. Yet she believes that these ordinary and delicate presences ultimately sustain herself, the world, and one another. The plants in her paintings are not simple representations of nature, but traces of relationships built over time and spaces in which the sensation of “aliveness” is quietly questioned.
She reflects on the idea that to be alive also implies moving toward death. Just as blooming and withering coexist within a single plant, her paintings hold together states of emergence and disappearance. Infusing the picture plane with the sensibilities she has learned through nature, she continues painting as a gesture of closely touching the world.

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.

Tomotoshi Hoshino (b. 1961, Tokyo) is a distinguished Nihonga painter and a specially selected
member of the Japan Art Institute (Inten), one of Japan’s most prestigious art organizations. He
encountered Japanese painting at the age of 14 and later studied under Kōhei Morita. Since his
first acceptance to the Inten Exhibition in 1987, he has continued to exhibit extensively both in
Japan and internationally. His solo exhibitions have been held in venues such as Nihombashi
Takashimaya (Tokyo), as well as in Paris, New York, and Oslo. His works are included in the
collection of the Omishima Museum of Art.

Lee Mina is an artist who closely observes the instincts and habits of animals and plants, granting narrative to their inherent characteristics and shaping the wonder of living beings through a visual language. The subjects in her paintings, shaped by attentive observation, acquire distinct personalities and temperaments, taking their place as if they were individual presences. Through subtle expressions, gestures, and scenes of relationship that she carefully captures, she composes painterly structures that evoke sensations beyond the visible world.

Working primarily in painting while also engaging sculpture, installation, and picture books, her practice moves fluidly across media. Throughout her work, the pure realm of animals and plants intersects with an unknown world that humanity has yet to reach. Her works invite viewers to see familiar beings anew and to imagine the mystery and essential innocence of life.

In the field of picture books, Lee Mina has been recognized by first-generation Korean picture book artist Jaesoo Ryu and Japanese artist Seizo Tashima. She has published five picture books. Her picture books convey layered reflection and symbolism within concise narratives, achieving both visual density and emotional resonance.

Wonkyo Choi explores the intersections where opposing or contrasting realms meet, overlap, or collide. Wonkyo’s work focuses on dissolving and reconstructing these boundaries, challenging the fixed notions of separation. Recently, the artist’s practice has turned toward the nature of images produced within digital environments. Also, the artist investigates their depth, expansiveness, weight, and spatial qualities—elements often overlooked in purely data-driven forms. By transforming these immaterial, digitally-generated images into physical and tactile presences, Wonkyo attempts to give form to the intangible, bridging the virtual and the real. the artist’s work not only questions the ontology of contemporary digital imagery but also proposes new ways of sensing and experiencing the image beyond the screen.


The characters that form the motifs of my work are common images that I have created. They are given a writing order and symbolized, and the process of preservation and change in the repetitive writing is established in the work as several afterimages, like time-lapse photography. Whenever the viewer sees a character that he or she does not remember, the difference between his or her memory and the work is evoked and referenced to the character in his or her memory, and this process reconstructs the work as a painting with intensity. The work also serves as a device to strengthen the connection between the viewer and the character with feelings of "I don't understand" or "What is this?", and as a record of a living person, not only as a work of art, but also as a portrait with an aspect as a recording medium.

Instead of waiting for a moment of inspiration, Nature Haan has continued to work, focusing on the landscape and emotions surrounding him. Since majoring in Western Painting at Seoul National University, he has shown a variety of artworks that capture the artist's daily life in their respective fields in different ways. Beginning in 2016, “Receipt Work” is based on receipts, a common material of daily life, and the objective text is gradually erased, leaving just the image of the moment, which is presented to the audience as a daily record. The artist aspires to become an unostentatious artist in the future, who communicates with the audience through works that show his own self.

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.

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.

Expanding the language of craft to an architectural scale, Lee Myungjin conceives and fabricates ceramic modules engineered with upper–lower joints. Where modules meet, lines and planes intersect; steps between verticals and horizontals accumulate into an open-ended system, and in the cadence of repetition an assured sense of architectural proportion emerges.
Built coil by coil, the clay locks together with the precision of masonry, while the finished surfaces and tones recall concrete, brick and other building materials. This approach grows from the artist’s resolve to push past studio constraints and actively recalibrate form and scale—a throughline made clear in the series Stacked Room and Column.

Lee’s works fuse craft exactitude with an architectural syntax: the poise of line and plane, the discipline of proportion and interval, producing objects where utility and figuration coexist. The module, as a primary unit, operates like the language of an architectural drawing—densely plotted lines and symbols. Yet Lee moves beyond that regimented order, continually experimenting with and substantiating new sculptural silhouettes through varied permutations of the module.


Mr. OGAY is a street artist from Taiwan, and is a self-proclaimed angry youth filled with love. He has been invited to Japan, China, New York, and more, for graffiti projects. His graffiti art motif mostly features a naked man who is under-dressed. Since stepping into the world of graffiti in 2000, his work has saturated walls all over Taiwan, and he consequently sets the record as the most frequently reported artist in Taiwanese history.


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.

Lee Koz, through her artwork, delivers a deep contemplation on profound themes. The boundaries between memory and dreams, and the translational gaps and accompanying confusion that emerge from these boundaries, are experiences many people encounter but find difficult to articulate clearly. The artist attempts to represent these intricate concepts through her paintings. She explores how techniques evolve between the history of representation and the desire for documentation. Reproduction raises questions about what and how we remember, and these questions play a central role in a artist's creations. Lee Koz communicates his unique perspective on memory, dreams, and the spaces in between through her art. By addressing these topics, she connects with the lives of all, providing an opportunity for deeper thought and self-reflection.

Since 2006, Lee Sangwon has been exploring the “aesthetics of rest” in our time through landscapes of leisure destinations such as ski resorts, swimming pools, and parks. He closely observes the patterns of specific places and spaces where people gather, and through his RESTOPIA series, poses the question: “What does true rest mean in this era?”

His works deviate from traditional perspective, combining various viewpoints such as bird’s-eye views from elevated positions, panoramic angles using 180-degree wide shots, and close-ups or upward gazes at specific subjects. These diverse perspectives make ordinary landscapes feel more extraordinary. Using the characteristic thickness of oil paint, he captures the textures of his subjects, and by traversing the boundary between abstraction and figuration, he explores new possibilities in contemporary painting.

Diverse and heterogeneous fragments coexist in Man Seop Kim's works. He studied Western painting at Mokwon University, earned a master's degree in Western painting from the same graduate school, and is actively using collages or montage techniques in his works. The images and symbols of his works are based on his daily experiences. He generates tension by capturing the moments when conflicting emotions, such as happiness and sorrow, love and anger, collide. The artist mimesis the coexistence of various beings in modern society through the confrontation and harmony that occur in the creation of works. 

Fishing for Dinner

Her Beauty and the Moonlight

Group Dynamics Team Formation No. 1

Landing

Every Day Every Moment

Mélange

To Reach You

Breaking Bad

Cherry Head

Wanted

Portrait

Good for Now

Philippe Parreno, Limited edition including original artwork

Philippe Parreno, Revue

23마리의 새

귀걸이를 낀 여자

무제

패스

핑크머리

혼란

누가 내 머리에 오줌 쌌어

고양이와 고양이와 고양이

빨간 눈과 빨간 머리

혼돈

뱀 세마리

검정 눈

초롱

안경녀

꼭꼭숨어라

붉은 달

바람

32개의 꽃

나무와 소녀와 나무

Sherbet punch lines(Emerald promise)

We are all in the waves (11 Sep. 2024)

We are all in the waves (sunset_3)

The winds move

Sherbet punch lines(Floating violet mood)

We are all in the waves (sunset)

Sherbet punch lines series 2

Sherbet punch lines series 1

Sherbet punch lines series 3

Self-portrait

A flow in frozen breeze

We are all in the waves (20 Sep. 2024)

Life1

Subtle Tremor

Life 2

Nearby Oddness; A garden inside it

Nearby Oddness; The Classic

Nearby Oddness; In Mild January

Nearby Oddness; Harmonize

HAKATA TRAVEL

BUDAFEST TRAVEL

Nearby Oddness; 2019

Near by Oddness; Library Station

Nearby Oddness; Missing Garden

오마이걸 - 불꽃놀이

SHIMONOSEKI TRAVEL

Nearby Oddness; Lost in reflection

프리다;  Bellas flores, No tragedia.

Nearby Oddness; Komm Süsser Tod

Nearby Oddness; Into The Unknown

Nearby Oddness; 2020

Live Is Life

Geiko

Circle of Presence

Midday

The Bounty

Tiny Beginnings

The Patterned Hem

Through Autumn

Calm

Merry-Go-Round

Portrait of Master Katsukuni

Maiko

Guardian

Turning Point

Moon Gazing

The Boss and the Faces

A Mushroom’s Mood

A Lump of Love

Handmade #01

My Sweet Home #02

Door #02

Slowly crashing waves (9ea)

Handmade #02

The creation

Pink tree

Study_for_Null_Portrai t of someone#205

What to see in repeated portraits #029

Study_for_Null_Portr ait of someone#138

Sun set & tree at Han River

Seeing the flower pot

The night of fish market

Empty seats at Cafe

Sadang Station

Red rest

Pine Tree

Seoul Sadang police station

Special sunny day

Spreading sun set

My personal cigarette

Sunrise A.P.T

When I think the grandmother’s house 

Dark face painting (Snow, Water, Sun)

Dark face painting (Untitled water boy)

Dark face painting (Mudder og vand / Mud and water)

Dark face painting

Dark face painting (Blue tears black boy)

Dark face painting (Rødt jord blå dreng/ Red dirt blue boy)

Dark face painting (Summer snow 2)

Dark face painting (Summer snow)

A proper position of an early afternoon

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

Living in an exposed place

We must see a rainbow!

Shouting in silence

Standing at attention to everything

Looks like the wilds, but it is the core

Cave in a cave

Morning has dawned

Calming scenery

Approaching rubbing sound

Area that Is Not Invaded

Loud as It was a Lie

A thing that disappears suddenly and appears again

Mark 1

Mark 2

Totem 3

Wallpaper 10

Wallpaper 4

Somewhere in the finger

Breathing hole

Blush

Happy Just Like It

Sketch day

The Pretty Trio

Cave at Pope Lick Creek

Self-portrait (Apoptotic Corpus)

Small Street

J-D The front door of Choi Jeong-ja's house-Two persimmon trees-Furnace-A wall-Clamatis

Artists