I had painted the landscapes that passed by fleetingly. Looking back, all that remained were the dry landscapes, filtered through my own filter, leaving only monochromatic shapes lingering in my mind. Currently, I'm more focused on expressing the colors and forms of the subjects as perceived through my brushstroke, rather than shaping the mental images in my mind. To be honest, I've deliberated a lot on the subjects I find beautiful and the ways to portray them.

In the natural subjects I observe, there's texture in everything. Trees display different textures based on their types, and when they come together to form a mountain, each tree's texture contributes to a collective yet distinct texture for the entire landscape. The texture of sea waves also varies with time, weather, and seasons, influenced by the direction and intensity of the wind. These textures, filtered through my vision, manifest differently on my brush and create diverse patterns within the rectangular canvas.

As for the subjects, there are no predetermined themes or special elements. However, one thing stands out – I paint natural landscapes that have emotionally resonated with me, excluding human traces. In my paintings, there are no houses, streetlights, power poles, or roads. If you were to imagine the surroundings of the uninhabited landscapes I paint, it might resemble the environment when one is left alone on a deserted island. Perhaps, in my art, I wish to savor, admire, and cherish such landscapes that others might overlook. I hope they get lost in the beauty of the untouched nature I've depicted, with no human presence, and simply indulge in the experience of admiration.

Phichai Keawvichit (b. 1975) is a talented photographer characterized by
his minimalist photography of architecture, gaining a reputation from his
Instagram with 80,000 followers and interview articles by several media.
He presented many photography exhibitions in several locally famous
photo galleries such as Accidentally Professional Exhibition (2019) in Silpa
Bhirasri’s House, Unlock solo exhibition in 2019 at River City Bangkok,
Urban Progress group exhibition in 2021 at Bangkok Art & Culture Centre,
and this latest one The Memoir of Movement in 2022 at River City
Bangkok is regarded as his second solo exhibition. Aside from
photography, Phichai loves writing to share his insightful stories. He is
currently the ‘Ekaphab’ columnist publishing his articles in Matichon
Weekly.

Vassily Kandinsky pioneered abstract painting in the early 20th century. He believed that geometric forms, lines, and colors could express the inner life of the artist—a theory quite evident in his own explosive paintings, which were often inspired by music. Today, Kandinsky’s canvases sell for tens of millions at auction and belong in the collections of the Museum of Modern Art, the Art Institute of Chicago, and the Tate, among other prestigious institutions. In 1911, Kandinsky played a central role in organizing Der Blaue Reiter, a group of avant-garde artists in Munich that included Franz Marc and Paul Klee. From 1922 to 1933, he taught at the Bauhaus, the historic Weimar institution that brought together artists including Josef Albers, Lazlo Maholy-Nagy, and Piet Mondrian.

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.

Sung Tae Kim specializes in the process of transforming a flat surface into a three-dimensional object. The works are a plane with three-dimensional potential and a processed surface, depicting space through installation. Interestingly, behind this complex process, we find the artist replacing the segmental method of measurement with psychology.

Abdoulaye Diarrassouba, known as Aboudia, chronicles the street scene in his city of Abidjan, the capital of Côte d’Ivoire. In his vibrant, large-scale mixed-media paintings and drawings, which recall those of Jean-Michel Basquiat, Aboudia takes inspiration from the aesthetics of graffiti and traditional African carvings. He has depicted youths in his city’s toughest neighborhoods and the violent post-election conflict that ravaged Abidjan in 2011. While his recurring skull, soldier, and bullet motifs speak to unthinkable trauma and brutality, Aboudia’s bright color palettes reinforce the enduring innocence of the children who live amid the chaos. Aboudia has exhibited widely across Côte d’Ivoire and in London, Paris, New York, and Marrakesh, among other cities. His work has been acquired by Saatchi Gallery, the Jean Pigozzi Collection of African Art, and the Nevada Museum of Art, and on the secondary market, it has sold for six figures.

Hyunwoo Li(b.1990) captures everyday scenes and presents them with a familiar yet fresh perspective and flow. He translates moments from ordinary life-whether a landscape glimpsed while driving or a scene encountered while walking-into paintings, imbuing still surfaces with a sense of movement, density, and temporality. Through layers of countless brushstrokes and a rich palette, his works, grounded in careful study of specific subjects and artistic contemplation, offer viewers and a brief pause- a moment to catch their breath-amid the ever-changing rhythms of daily life.

Mónica Loya (b.1990, Mexico) has shown at KÖNIG in Mexico City and exhibited widely across Mexico, the United States, the United Kingdom, and Portugal. Her work merges sharp visual instincts with everyday imagery, constructing dissonant compositions that evoke the surreal logic of dépaysement. Found moments from smartphone snapshots and scenes from daily life are reconstructed on the canvas in new, ambiguous contexts. Through witty compositions, fluid lines, and vibrant tones—often red, blue, and pink—Loya transforms the ordinary into invisible yet emotionally potent events. The viewer is invited to observe and complete the work through their evolving emotional engagement, stepping directly into her open-ended world.

Jo Jae, an artist based in Seoul, is fundamentally interested in the concept of "space" — a place created, inhabited, and sometimes demolished by humans. A space itself symbolizes the people who occupy it, and its inhabitants inevitably leave traces of themselves. These traces can become important clues, sparking intense curiosity. Driven by this curiosity, Jo Jae crafts stories with images based on these clues. Her work spans photography, installations, and even design, but she sees no difference between these acts. Photography, as the flat print of tangible objects, conveys an ethereal subject matter, allowing the relationship between images and stories to leave room for imagination. This is why photographic media currently remains her most preferred medium.
Jo Jae’s work begins in the virtual realm. Since 2020, she has been translating the intersection between digital images and their original counterparts into a sculptural form. By visualizing the gap between digital images and the unprocessed originals, she aims to establish a new sense that bridges the virtual and the real worlds.

Artist Jamsan is an artist who moves fluidly between the commercial and fine art fields, engaging in a wide range of creative practices. In the early stages of his painting career, he developed Mastic Art—a new approach that reconstructs materials such as cement, brass, and steel, merging sculpture and painting into a unique artistic language.

Recognized as one of Korea’s leading concept artists, he has produced outstanding works in advertising and art since 2004. His major projects include the concept art for Seo Taiji’s “Sogyeokdong” album, Nike’s Park Ji-sung CF, and Samsung Galaxy Note 2. He was selected as a representative Korean artist for the 2018 PyeongChang Winter Olympics (15 Featured Korean Artists), and in 2020, he created the concept art for the tvN drama “It’s Okay to Not Be Okay.”

Currently, Jamsan is widely loved for his “Red Chair” and “Rose from the Star” series. Continuing to introduce new bodies of work, he is shaping and expanding a genre he defines as “Surreal Fantasy Painting.”

Maggi Hambling (b. 1945, Sudbury, Suffolk) is a contemporary British painter and sculptor. Hambling studied first at Cedric Morris’ and Arthur Lett-Haines’ East Anglian School of Painting and Drawing before going to the Ipswich (1962–64), Camberwell (1964–67) and Slade (1967–69)
Schools of Art. In 1980, she was invited to be the first artist in residence at the National Gallery, London.

Volo observes the efforts of everyone living through anxiety and translates it into art by depicting their attempts at self-reliance. She represents the feeling of anxiety through abstract images focused on texture, then reinterprets these images by freely cutting and pasting them to attempt "finding balance." The use of techniques such as cutting, pasting, and stacking, which are borrowed from play, reflects her approach to anxiety: not being consumed by its negative aspects, but rather viewing it positively and utilizing it playfully. The paintings and sculptures, even if the pieces do not fit perfectly, form towers or arches that symbolize various forms of self-reliance, while also representing the multiple relationships that involve interacting and creating solidarity with others. Her major exhibitions include <CRAFT+MAN=SHIP> (2024, Seoulbattleship), <Which Working, Nowadays>(2023, CDA), and <Finding Language> (2022, Gallery Bincan). She participated in the short residency program "Asura Hwalhwalta" organized by the Youth Village in Haenam, Jeollanam-do, and her recent work focuses on the paradoxical imagery of beauty and pain coexisting, as well as the cognitive processes of human beings.

The overarching theme of JIYOUNG LEE's work is the "Human Zoo." The term is inspired by zoos, depicting facets of human life where individuals, like animals in a zoo, lose their instincts and live predetermined lives shaped by societal expectations. The black ink wash surrounding the "Human Zoo" represents artificial rocks in the zoo, symbolizing societal norms, laws, and universal conventions desired by society. While seemingly protective, these elements also confine human nature. Through her art, JIYOUNG LEE aims to portray the individuality, homogenization, desires and confusion within this enclosed space, prompting reflection on the choices individuals make in navigating their lives within these confines.

SeNa Hwang expresses emotions of loss and anxiety through a symbolic figure—a child with empty eyes. The vacant pupils and sharp whites of the eyes imply complex inner emotions and the possibilities that lie beyond. To articulate and clearly convey these feelings, the artist employs the simple contrast of black and white through the medium of charcoal. The process of drawing and smudging charcoal lines repeatedly resembles the human journey of experiencing wounds, healing, and self-discovery. The work begins as an outlet for suppressed emotions and gradually expands into an exploration of self-understanding and acceptance. The light and shadow within SeNa Hwang's compositions transcend mere visual elements, offering an experience of self-awareness and deep introspection. This reflects the artist's attitude of caring for and healing oneself through affection for others. Her works convey more than visual beauty, inviting viewers to share in the journey of self-discovery and growth amid loss and anxiety.


Kim Nampyo creates realistic yet fantastical artworks. He has presented works featuring tigers emerging from the sea and zebras appearing in front of the Independence Gate, showcasing his imaginative compositions. In recent years, he has focused on realistic landscape works that prioritize on-site experiences, depicting the seas of Jeju and the Himalayan Everest mountain.
Kim Nampyo graduated from the Department of Western Painting at Seoul National University's College of Fine Arts with a B.F.A. He later received his M.F.A. from the graduate school. He has participated in over 20 solo exhibitions and more than 60 group exhibitions domestically and internationally, including "Drawing Jeju Island" (Gyoboa Art Space, 2022), "Instant Landscape – Goosebumps" (Gana Art Center, 2017), "Instant Landscape" (Gana Art New York, 2009), and "Instant Landscape" (Gallery Hyundai - Window Gallery, 2007). He has also participated in international art fairs such as Abu Dhabi (UAE), Art Central (Hong Kong), and KIAF (Seoul). He has won the Grand Prize at the National University Art Exhibition and the Gold Prize at the Creative Arts Association competition in South Korea. His works are held in collections at institutions such as the Seoul Museum of Art, the National Museum of Modern and Contemporary Art, Korea, the Seongnam Cultural Foundation, and the Suwon Art Museum.

Cho Youngnam is a celebrated singer, television personality, and contemporary artist who has built a distinctive visual language that bridges popular culture and fine art. By reinterpreting the traditional Korean card game hwatu through the lens of pop art, he transforms a simple pastime into a cultural symbol and collective memory that transcends generations. His works dissolve the boundaries between tradition and modernity, mass culture and high art, humor and satire—expanding the aesthetic possibilities of contemporary art.

Kim Yong-il explores childhood memories and collective emotions through the recurring motif of the house. Depicting villages, homes, and fragments of everyday life, his paintings evoke the fading traces of lived experiences. For the artist, the house is not merely an architectural structure but a symbolic space where personal memories intersect with shared communal narratives.
Kim’s work unfolds through two visual narratives: the “stories of day” and the “stories of night.” The former presents luminous scenes of houses and fields bathed in sunlight, recalling the vitality and warmth of childhood memories. The latter introduces a quieter and more contemplative atmosphere, shaped by the imagery of moonlight and seolbap—snow that falls around the Lunar New Year. Together, these two modes traverse different layers of time and recollection, expanding personal memory into a shared emotional landscape.
Charcoal plays a crucial role particularly in the “night” series. The material, reminiscent of the charcoal the artist once played with as a child, becomes a medium for recalling memory. By covering the canvas with charcoal and then scraping it away, Kim creates subtle tonal gradations that suggest memories fading or intensifying over time. This process produces a calm atmosphere and generous areas of empty space that invite viewers to project their own recollections into the work.
Rather than merely depicting landscapes, Kim Yong-il’s paintings function as devices that recall disappearing traces of life and communal memory. The expansive blank spaces within his compositions allow the viewer’s memories to enter the work, transforming the artist’s personal narrative into a shared story of nostalgia, empathy, and quiet reflection.

YISLOW focuses on various relationships that form human life. However, characteristics of YISLOW’s world of art does not limit its subject of the relationship to humans but includes abstract realms such as time, incident, objects, or even oneself. By heaping disordered lines and colors that bloom from the heart, the artist tries to capture the undefinable infinite image like the random atypical humming that vanishes in her work. Perhaps the work of YISLOW is most like the imagery when the word ‘innocent’ is interpreted in the language of visual art.

Wonmi Seo expresses anxiety and trauma based on autobiographical experiences, societal experiences, and psychological landscapes through the language of painting. She graduated from Sungkyunkwan University and currently resides in Seoul, where she engages with audiences through various exhibitions of her work. The artist combines and deconstructs common materials and symbols, concealing and reinterpreting the ordinary. With this process, her works represent the unrestrained desires of humans today, a collection of characters with shattered and chaotic lifestyles, and the trauma linked with death in Korean history. She believes that viewers of her works will experience the separation of subject and object of the self and will be able to focus on the works and project themselves into them.

Jeong Seyoon’s work explores human life and contemporary society through anthropomorphized animals. With soft forms, warm colors, and expressive characters, the artist creates dreamlike scenes that offer comfort while quietly reflecting on the complexities of modern life. Beneath their gentle appearance, these familiar creatures invite viewers to reflect on themselves and share in a sense of empathy.

During this time he worked under filmmakers Paul Sharits and Hollis Frampton who introduced him to structural filmmaking and Sergei Eisenstein’s films. In 1974, while at Buffalo, he co-founded, with Charles Clough, the exhibition space Hallwalls, organizing shows with Vito Acconci, John Baldessari, Lynda Benglis, Robert Irwin, Joan Jonas, Bruce Nauman, and Richard Serra, and establishing relationships that proved seminal to his development. It was at this time that his life-long friendship with Cindy Sherman began. Longo is best known for Men in the Cities, his critically acclaimed, larger-than-life, photorealistic drawings of contorted figures, done from 1977 to 1983. Using charcoal, graphite and ink, this monochrome series depicting the reactive movements of businessmen and women in static suspension became icons of 1980s art. Longo has had retrospective exhibitions at the Hamburger Kunstverein, the Menil Collection in Houston and the Isetan Museum of Art in Tokyo, and his work has been exhibited in the Whitney Museum Biennial in New York, documenta in Kassel and the Venice Biennial, among others. He is represented in the collections of the Art Institute of Chicago, the British Museum, London; the Centre Georges Pompidou, Paris; the Guggenheim Museum, NY; the Los Angeles County Museum of Art, CA; the Menil Collection, Houston, the Museum of Modern Art, NY; the Stedelijk Museum, Amsterdam, the Tate Gallery, London, and the Whitney Museum of American Art, NY among many others. He lives and works in New York.

Yoonhee Na, a graduate of the Department of Comics and Animation at Sejong University, has been actively publishing since 2014 to the present. She has worked on serials such as <Blind Garden>, <This Magical Moment>, <Whale Star: The Gyeongseong Mermaid>, and <A Heartfelt Andante> and was awarded the Presidential Award at the Korea Content Awards in 2021.

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.

I Once Saw a Man Who Stood Still W1/30

A Man without Words H1/30

Bluewave

Greenwave

Dinner

on the way to Juwang mountain

on the way to my friend

Memoir No.12

KANDINSKY. FORMES NOIRES SUR BLANC

Study_for_Null_Portrai t of someone#205

What to see in repeated portraits #029

Study_for_Null_Portr ait of someone#138

Untitled

KURO(2)

La pose

untitled(0717)

untitled(0608)

Drive

Lip combo

Whats in My Bag

Debris22

Debris30

Debris33

Debris24

Debris23

Rose from the Stars (23)

Rose from the Stars (24)

Rose from the Stars (25)

Red Chair (03)

Rose from the Stars (11)

Rose from the Stars (17)

Rose from the Stars (13)

Rose from the Stars (20)

Rose from the Stars (12)

Rose from the Stars (16)

ROSE FROM THE STARS

IT’S OKAY

A Certain Blacksmith Shop

Rose from the Stars (21)

Rose from the Stars (03)

Rose from the Stars (01)

Rose from the Stars (14)

Rose from the Stars (15)

Rose from the Stars (18)

Rose from the Stars (19)

Rose from the Stars (05)

Rose from the Stars (10)

Rose from the Stars (08)

Rose from the Stars (06)

Rose from the Stars (04)

Red Chair (04)

Red Chair (01)

Rose from the Stars (09)

Rose from the Stars (02)

Rose from the Stars (26)

Red Chair (02)

Rose from the Stars (07)

Rose from the Stars (22)

RED CHAIR

Poetry of the Stars

The Horse and the Carrot

The Rose from the Stars

The Square

The Blue House

Wall of Water XXVII

Coexistence

Distance

Acrobatics

Dongdong

Existence

Look

Remnant 1

Remnant 2

Aaaaaah

Bloom

In the Water

Choice

Withering Thorn

Waves

Waves and Foam

Farewell Journey

Decision

Trial

A Response to Nonsense

forest stage II

Animal house - The swan mask

People who try to balance without much strength 1

People who try to balance without much strength 3

People who try to balance without much strength 4

HER HISTORY

CHOICE

Our 1

Our 2

Our 3

Our 4

In Time, We Bloom Beyond the Darkness 5

In Time, We Bloom Beyond the Darkness 4

In Time, We Bloom Beyond the Darkness 3

In Time, We Bloom Beyond the Darkness 2

In Time, We Bloom Beyond the Darkness 1

There's no one, Even so

Melancholy

here i am-2

for me

Stand Up

How to warm up in a cold room

In Time, We Bloom Beyond the Darkness 6

May You Live As Wide As Your Longing

What Is It Your Heart Seeks?

here i am-1

After som time, we become blossoming bodies-1

After som time, we become blossoming bodies-2

After som time, we become blossoming bodies-3

What Have You Lost Beneath Your Seasons?

What Stirs You to Rise?

PM5 #2

PM5 #1

Instant Landscape - Aewol Sea(s)#1

Instant Landscape - Aewol Sea(s)#2

PM5 #6

내 길을 갔답니다

빨강띠

항상 영광

극동에서 온 꽃

마리린몬로와 나의 어머니 김정신 교회 권사님

우리 엄마 김정신 권사님이 가짜 꿀 만들면서 불렀던 찬송가 내주를 가까이