POSE began painting graffiti in 1992 and in years since has expanded his vigorous career to include murals, commercial collaborations and exhibitions around the globe. He earned his BFA from the Kansas City Art Institute in 2004, and then turned his own graffiti education into a body of work blending a wealth of pop culture’s ready-made visual languages. Street signage, comics, newspapers and advertisements are reimagined through dissection, digitization and reconstitution, collectively immortalizing post-industrial moments for the digital age. POSE was named “One to Watch” by CNN in 2015, and has exhibited in the Museum of Contemporary Art Los Angeles, Museum of Contemporary Art Denver, Powerlong Museum Shanghai, Museum of Contemporary Art Chengdu, and Chosun Ilbo Museum of Art, Seoul, among others. His work is enjoyed in numerous private collections worldwide.


ruby onyinyechi amanze (b. 1982 in Port Harcourt, Nigeria; lives and works in Philadelphia) composes drawings that defy the two-dimensional bounds of paper. Her objects float across the pages, untethered by indicators of gravity, space or time. Seven recurring shapes, including motorcycles, architecture, “ada” the swimmer dancer who is frequently in intimate exchanges with “audre” the leopard, paper, birds, and pools of water, are collaged together in endless renditions directed toward sensations of feeling and sense, rather than conveying a narrative. 

All the forms are free from the restrictions of land; all sense of directionality is lost and they are light and unbounded. The minimalism of amanze’s work is juxtaposed by a sense of limitlessness and depth; the universes in amanze’s drawings are nameless, the only elements that place the shapes in a recognizable world come from photography. amanze uses the element of water through photographic transfer, diluting inks, and leaving traces of drip marks or stains on the bright pale paper, which create marks of movement that shimmer off the page, and reflect into space.  

amanze was the recipient of a Fulbright Scholars Award in Drawing to the University of Nigeria, Nsukka, an Open Sessions participant at the Drawing Center and an artist-in-residence at the Queens Museum. She has exhibited her work globally including at the California African American Museum, the Drawing Center, and the Studio Museum in Harlem. In 2019, amanze was named the Deutsche Bank Featured Artist at Frieze New York. Her work is collected by the Deutsche Museum, Jewish Museum, Studio Museum in Harlem and most recently, the CCS Bard College Hessel Museum of Art.

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.

Phatcharaphan Raiva is a graduate of Chulalongkorn University’s Faculty of Fine Arts and Applied Arts.
Phatcha’s career as an artist has grown exponentially since her graduation in 2008. Her father, an artist, has had a great influence on her work. After a very successful solo exhibition in 2014, she participated in the 2nd International Watercolor Competition in Thessaloniki, Greece.
Since then, she has participated in many international watercolor exhibitions and biennials, including the 1st International Watercolor Biennial 2016 in Hong Kong and the 2nd International Watercolor Biennial 2017 in Tirana, Albania.

[Layers of Deficiency: Reframing Through Monsters and Frames]
The core theme permeating the artist’s work is ‘deficiency.’ While often dismissed as a negative element that renders humans incomplete, the artist strips away this stigma by infusing it with constant contemplation and observation. In her hands, deficiency is reinterpreted and brought to life as whimsical, fairy-tale-like creatures called ‘Deficiency Monster.’ These beings are meticulously crafted on soft felt, where the rich texture of oil pastels meets the delicate, sharp strokes of a pencil to create a sense of living fur.
Narratives of deficiency—once marginalized and deemed trivial—are brought to the surface through the medium of the ‘Frame,’ which the artist hand-builds from stone clay. Traditionally a tool for exhibiting and preserving something precious, the frame here serves as a protective fence for deficiency. It provides the audience with the necessary psychological distance to step back and view their most intimate emotions through a lens of fantasy.
The recurring signature of the work is the ‘Monster’—a pill-shaped creature with half-closed eyes that serves as the artist’s persona. The moment viewers lock eyes with these monsters, they undergo an indirect encounter with another’s deficiency. 
Yet, this gaze ultimately reflects back onto themselves. The artist invites the audience to meet the monster’s eyes, hoping this shared gaze becomes a moment to finally confront the deep-seated deficiencies within their own hearts.

Imhathai Suwatthanasilp is an internationally known artist, in particular for her use of human hair as the main material to create her artworks. She relates hair to the human experience through works that are tactile and emotive, posing existential questions to the audience. As such, Imhathai’s works explore notions of gender equality, life, death, violence, morality, and spiritual and beliefs systems especially in relation to Thai society. Responding to ongoing social concerns, Imhathai’s recent works expand to environmental issues that emphasise our individual participation and responsibility towards how we care for the nature surrounding us. 

Natalie Sasi Organ examines fragmented historiographies, creating artificial yet familiar scenes of composite memories and territories. Investigating the liminalities of her own biracial experience, Sasi Organ confronts the personal and cultural tensions of migration, displacement, and assimilation. Her practice, defined by continuous dualities and dichotomies, mirrors the binary thinking of cultural hybridity, also tracing the artist’s personal search for living in the in-between. Drawing from settings close to her heritage, Sasi Organ builds a composite archive of visual evidence, often crossing generations and geographies. She transforms mundane objects and domestic scenes into testimonies of transitory belonging, fostering unforeseen interactions with intimate subject matter. Forming a practice of recollection and recontextualisation, Sasi Organ highlights the ephemeral and overlooked, challenging the subjective ambiguities of identity and memory.

Born in Hanover in 1964, Baumgarten studied at the “Staatliche Akademie der Bildenden Künste Karlsruhe” and the “École Nationale Supérieure des Beaux-Arts de Paris”, later receiving his MFA from Tokyo University of the Arts in 1999. Since 2008, he has served as professor in the Department of Painting at Hongik University, establishing his practice in Seoul. His sustained artistic concern has been the hybridity of architecture and lived experience within urban neighborhoods. When he first visited Seoul in 1993, the dense vistas of red-brick and concrete houses climbing the hillsides struck him as at once unfamiliar and compelling. He has since focused on the hybrid landscapes born of the encounter between Western architectural order and Korean sensibilities of habitation, articulating them through his visual idiom.

MANE's work presents a story that evokes childhood experiences. However, the artist imbues it with dreamlike qualities that render it unrealistic and obscure. Characters and objects from the artist's real-life memories appear in the composition but are rearranged to create a new narrative that is both recognizable and unfamiliar.

Memories can be ambiguous, much like a dream. However, happy memories often end with our mother's voice, which is softly muted in the background. And, there were books in the past that seemed taller than our height. The weighty tomes imparted unfamiliar tales, ones that compelled us to stay up late and read. 

–From MANE’s note

Thanawat Numcharoen
b.1996, Sisaket, Thailand
Lives and works in Bangkok, Thailand

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.

Ricardo Passaporte's work draws attention to the hand-drawn, homespun nature of their creation by
referencing Outsider Art and engaging with the repetitiveness and impulsivity of graffiti. The artist explores
the symbolic nature of found images and uses this material as inspiration to inform his practice. Passaporte
takes interest in and raises questions around the nature of making art, as well as the dichotomies between
the mass-produced and the uniquely singular art object.

Hyundoo Jung gathers subjective conversational language by accumulating brushworks that show the physicality of the senses that arise from the inside. After graduating from the Department of Painting at Hongik University, the artist earned a master’s degree in the Department of Fine Arts at the Seoul National University of Science & Technology and was a resident artist at the Gyeonggi Creation Centre. His paintings reflect the trajectory and substance of the human body, while also being hospitable and evoking a distinct feeling. He repeats the process of his works by reacting intuitively to the colours and images formed by the improvisational movement and the state and concentration of the paint application on the canvas. The image of the stacked layers on the screen exposes a spectrum of colours and the artist’s sensual judgement. Hyundoo Jung also gradually makes the chroma heavier while adding a sense of density of colour. He treats the entire screen of his painitngs as a result of complete abstraction and sensation, as if it were directed from the surface to another kind of space. 

Floating Selves, a Solidarity of Resonance
I do not trust the notion of a fixed self. Although the self is often defined in psychology as a unique and coherent identity, such a concept is fundamentally insufficient to capture the complexity and fluidity of the human inner world. Within the rapidly shifting currents of contemporary society, modern identity is continuously dismantled and dispersed, leaving us to drift through the world without a clear outline. In this process, fragile emotions are frequently fragmented, and coherent temporality and narrative lose their boundaries, often becoming powerless. Thus, the core and backdrop of my work is the visualization of the process through which incomplete beings of our time gather their own fragments—a “psychological safe zone.”
This psychological safe zone is not a simple refuge where all pain and conflict are resolved, nor a complete utopia. Rather, it is a place where beings that remain incomplete choose confrontation over avoidance, flow over closure, and bear their own rhythms as they pause, exploring transformation and recovery.

This space is realized as an unfamiliar and heterogeneous landscape inhabited primarily by anomalous life forms. These settings are not actual places but multidimensional spaces onto which inner sensations are projected—complex structures in which memory and imagination, fear and desire, are interwoven. The beings that appear possess organic, hybrid forms and identities that are never fixed. Figures wearing animal masks, unfamiliar beasts, and winged mammals all symbolize the fragmentation and reassembly of the self, actively driving their own narratives. Rather than isolating and defending themselves from the external world, they form spaces as open fields of relation where emotions and existence connect. Within these spaces, the self is once again experimented with, and resonance aligns itself with reality in solidarity.

The beings that appear in the work carry no fixed meanings. They are less identities than possibilities of identity, or states that the artist senses within lived reality. Through these scenes, the viewer is invited not to find comfort or definitive meaning, but to enter an unstable condition reliant on sensation. Selves pass through intermediate points toward a more complete form of being. This is not a process of healing but of individuation—a provisional space that allows one to form personal boundaries through resonance with the surrounding world. This space does not seek to establish a private order, but to explore the very possibility of order itself. It is always precarious. Yet it is precisely within this precarity that the hope emerges that the self may finally be contemplated.
“How far did the boundary extend before complete collapse, and in what form might it be rebuilt?”
The work offers no clear answers. Instead, within landscapes that hold this question, beings continue to move and transform. I remain within this space.

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


Warawut Tourawong currently holds the position of an Assistant Professor in the Faculty of Painting, Sculpture, and Graphic Arts at Silpakorn University. He began creating lifelike figurative paintings that aim to convey meaning through surface characteristics, reflecting objects that influence humans through clothing imagery and the expressions of individuals.

Jourdain Jongwon Lee is sculptor, and artist based in New York. He moved to the United states from Korea in 2010 and had M.F.A. from Long Island University. He has been working on his ‘Golem’ series since 2008 through Seoul to New York. The name of series, Golem is originally from Jewish folk lore. Golem is an animated anthropomorphic being, created entirely from inanimate matter. The Golem series is connected to the idea of protection, guardian, and golem which is connected to shamanism in Korea.

Soon.Easy - BTS's J-Hope owns "SUGAR CANDY MOUNTAIN #10," and the artist is well-known in the Asian region.


Path 2

Path 1

Grasp 1

Path 3

PM5 #1

PM5 #6

Instant Landscape - Aewol Sea(s)#1

Instant Landscape - Aewol Sea(s)#2

PM5 #2

Unknown Creatures No.3

Unknown Creatures No.1

Plankton

Fish Scale Mountain

Unknown Creatures No.2

The Birth of Venus

The Madonna in the right panel of The Melun Diptych

untitled

Drive

Untitled (from Beavis and Butthead)

eBay girl 2

eBay girl 1

Bricks

Featured Artists on Artue