Leem Jaeyeon’s paintings express the suppressed and concealed archetypal desires and illusions of humans through mythological motifs. Based on an exploration of human primal instincts, his works reveal desires and the resulting illusions through a methodology that oscillates between figuration and abstraction.

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.

Yerang Hwang depicts the contradiction and compassion of the familiar world. After receiving a master's degree in Korean painting from Sejong University, she broke down the boundary between western and oriental paintings, and reinterpreted oriental artworks from her own perspective. Concerned with the categories and medium of Korean painting, the artist experiments with several display approaches. Through the appearance of contradictory materials, visitors are prompted to consider the two opposing feelings, and the artist's vision of the world is depicted through the capture of everyday life. 

Alex Cho observes the subtle moments of mistranslations in his works. For him, these mistranslations are akin to off-pitch harmony or miscommunication that somehow makes sense. Information seems to overpower reality, appearing as translated or compressed surfaces. Amidst the current state of information overload, the artist seeks out gaps and errors that feel awkward. Using floaty drawing elements and a loose, painterly expression, the artist aims to react to and reassemble encountered information and events, creating new possibilities. The artist hopes to capture moments of awkwardness in these ambiguous spaces. His works resemble anti-humor jokes or awkward silences. The desire to go beyond information and drifting thoughts emerges on the surface of canvases as mistranslations, even if only superficially.

Michal Korman (b. 1987) began his art education at the age of five when the Slovak academic painter Jozef Jelenak (working in the tradition of expressionism) admitted him to his courses for children at the school of art in Korman’s hometown, Partizanske. These classes formed his artistic
foundations over a period of three years.In 2005, Korman manifested his specific style: a combination of graphic like oil painting branded with his signature as a logotype.

Lee Ufan is a South Korean artist and art critic born in 1936 in Haman-gun on the southern Korean peninsula, then part of the Japanese empire. He moved to Japan when he was 20 years old, and developed a practice anchored in an Eastern understanding of the nature of materials together with an appreciation of modern European phenomenology. In 2009, the Japanese government honored Lee by conferring the Order of the Rising Sun for “contributing to the development of contemporary art in Japan.” In 2010 the Lee Ufan Museum, designed by Tadao Ando, opened at Benesse Art Site, Naoshima, Japan. Lee has had major exhibitions worldwide, including a retrospective at the Solomon R Guggenheim Museum in New York City in 2011. In 2014, he was selected for the contemporary art program of the Palais de Versailles, and in 2019 the Hirshhorn Museum and Sculpture Garden in Washington DC commissioned a site-specific installation for the museum’s plaza. Lee divides his time between Kamakura, Japan and Paris.

1996 Born in Fukuoka.
Influenced by anime and manga culture during boyhood. In 2017, he started working as an illustrator based in Fukuoka. He creates and presents his works in digital and analog formats. The female with characteristic ennui expressions are a projection of the artist's own inner self.

Thai contemporary artist residing in New York City, Berlin, and Chiangmai, Thailand.[2] He was born in Buenos Aires, Argentina in 1961. His installations often take the form of stages or rooms for sharing meals, cooking, reading or playing music; architecture or structures for living and socializing are a core element in his work.

Sung Neung Kyung (b. 1944-) is a prominent Korean conceptual artist whose works embracing nontraditional mediums such as newspaper, photography, and performance broke the ground for experimental art in Korea. Sung debuted in Korea’s art scene in 1973 as a member of the avant-garde art group ST. Until the late 1980s, he showcased newspaper-related installations and performances challenging government censorship of the media and the press’ misuse of editorial power. Also, he was among the first artists in Korea to use photography in the context of fine art in the 1970s. 

Sung Neung Kyung’s daily practice of art has escaped critical notice, yet like the mosquito he has been active for much longer and his influence is felt more widely than many realize. Sung’s conceptual actions, documented through photographs and performance artifacts, reflect his decades-long interest in everyday moments of exchange between people in a social context. The exhibition “Contraction / Expansion” reflects the artist’s ongoing interest in daily actions that become iconic when isolated within the context of the art work. “Contraction is what the people in power wanted and expansion is what the people under control wanted,” Sung explains. These small gestures create a “mosquito noise” by activating everyday elements of behavior into a resonant, politically charged buzz. 

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.

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.

Latthapon Korkiatarkul creates minimal works of powerful subtlety, using abstraction as grounds for fluid subversion and projection.  The artist’s process completely detaches from the conventional structures of drawing, painting, and sculpture: supporting elements such as walls or pedestals become the focal crux of pieces, as do humble materials like graphite and paper. Similarly, the artist distils and reverses sequences of production, at times painting on the reverse of canvases or soaking paper in oil before turning to colour. He negates compositional hierarchy and grandeur, even including seemingly inconsequential remnants from his methodology: the works reveal stray traces of paintbrush hair, cat fur, pencil shavings and dust, and the artist even imagines the light and wind in his studio as  factors behind his visual language. Embracing the totality of his artistic process, Korkiatarkul constantly negotiates the human conceptions of value within and even beyond art. Through laborious transformation and redefinition, he meticulously questions the social construction of objects. The artist quietly calls for introspection in presenting such signature visual voids. As if existing in a vacuum of thought, Korkiatarkul renounces any complex contextual baggage, summoning his viewers to instil their personal quests for knowledge and liberation onto each of his works.

Kohei Nawa is a multidisciplinary artist whose diverse practice explores the perception of virtual and physical space and examines the relationship between nature and artificiality, and between the individual and the whole, illustrating how parts aggregate together, like cells, to create complex and dynamic structures.

Henri Matisse was a French visual artist, known for both his use of color and his fluid and original draughtsmanship. He was a draughtsman, printmaker, and sculptor, but is known primarily as a painter. Matisse is commonly regarded, along with Pablo Picasso, as one of the artists who best helped to define the revolutionary developments in the visual arts throughout the opening decades of the twentieth century, responsible for significant developments in painting and sculpture. The intense colorism of the works he painted between 1900 and 1905 brought him notoriety as one of the Fauves (French for "wild beasts"). Many of his finest works were created in the decade or so after 1906 when he developed a rigorous style that emphasized flattened forms and decorative patterns. In 1917, he relocated to a suburb of Nice on the French Riviera, and the more relaxed style of his work during the 1920s gained him critical acclaim as an upholder of the classical tradition in French painting. After 1930, he adopted a bolder simplification of form. When ill health in his final years prevented him from painting, he created an important body of work in the medium of cut paper collage. His mastery of the expressive language of color and drawing, displayed in a body of work spanning over a half-century, won him recognition as a leading figure in modern art.

Ever since I discovered saturated music (Franck Bedrossian, Raphael Cendo) ten years ago at the Versailles Conservatoire, the theme of Excess has become central both to my work as an ar=st and in my personal musings. While challenging the ra=onale of our ultra- modern socie=es and their economic and societal models, my pain=ngs, in a combina=on realism and abstrac=on, explore this concept of excess, in par=cular through the philosophy of Georges Bataille, literature (Pierre Guyotat, Kathy Acker, Hermann Ungar and many others) and contemporary films.
The despicable, the sublime, ero=cism and death are all spheres in which excess comes into play, and I try to connect them in elaborate composi=ons that draw as much on tradi=onal pictorial techniques as on more contemporary aesthe=cs.
I believe that Pain=ng, and Art in general, are at their origins, the expression of an Impossible that derives as much from vacuity as from surpassing limits.

Disorn Duangdao (lives and works in Kanchanaburi, Thailand) focuses his interest on the situations that arise from his surroundings, including the use of raw materials derived from the experience of overlapping and parallel contexts of ambiguity and reality. His practice involves a combination of constructing sets of symbolic language within objects and finding meaning within twisted structures. Disorn’s aesthetic opens up a diverse dialogue ranging from nature, society, and politics, to history, all under the realm of an exchange area for reform and reconstruction.

My work begins by extracting formative elements that can be found in natural objects. 
It is to collect the formative beauty and aesthetical beauty of nature and reconstruct the canvas based on it. The images displayed on the screen are mainly expressed in the form of flowers or plants. For this case, the object shown in the form of a natural object is only an element used for color and formative harmony. Several flowers from a single stem are sometimes embodied as having different colors and shapes and some float the canvas without a starting point. Also, shapes unrelated to natural objects are placed in various places on the canvas and it is because the shapes on the canvas do not follow the biological structure of nature and it means that the images have their own form, not the result of imitation. Each formative element is recognized as a single piece in composing the canvas. A series of processes to approach the formative beauty by refining the shape until it has the desired shape is similar to working with a piece. The individual pieces completed at the same time act as an element again in the larger screen, serving as a small piece’s form. 

The finished pieces take the most harmonious position for the canvas composition. In this way, the process of deleting and inserting shapes until I reach the scene that I feel is the most beautiful can be said to be the process of creating a piece with a greater meaning.

Flowers and plants we encounter in our daily life are kind subjects. Many of them are immobile and stationary in their place, but they appear in various forms that accommodate changes according to the environment. I do not perceive them as fixed or complete images, but accept them as formative elements of points, lines, planes, colors, and shapes.

When I find a subject I want to collect among the forms created by natural objects, I draw on the spot. I extract the components or elements I want to be influenced by or needed for future work and bind them to my notes. At that time, I  do not bring all the forms as they are, but remove the details and collect them in a condensed form.

After that, I continue referring to the drawings in my binding and adapt the artistic senses that come from them, and I try to learn the formative aspects and the colors through this process. While repeating the process of mixing or refining the drawings collected and reinterpreted on the canvas, by accumulating harmony and order of the formative elements, I wanted to discover my own sense of aesthetics. 

A Man without Words H1/30

I Once Saw a Man Who Stood Still W1/30

Three women

Veiled series 2

VENUS

Veiled series 3

Heavenly Whispers

Eros and Art nouveau pattern

White or wings

Poetic series

He and She

Eros and Snake

Arrow of Eros

MEDUSA

Small Street

Cave at Pope Lick Creek

Self-portrait (Apoptotic Corpus)

Love

Flower

Spring

Rose

Prey

Raising things

Birth

Singing Birds

Family

White cat

Adam and Eve

Black cat

Baby goat

Flowers and Dog

Spider and Butterfly

The spring of Seoul

A house on a mountain

Crying bird

Summer

Blood

Persimmon tree

Untitled

Untitlted (asparagus)

Distant Music

At the Exhibition of Flowers Arrangements in Suzhou

Winter Still Life

Untitled (II)

Untitled (VI)

Untitled (V)

Untitled (IV)

Untitled (I)

The Birth of Venus

The Madonna in the right panel of The Melun Diptych

Untitled(time waits for no one)

Venue

Greenwave

on the way to my friend

on the way to Juwang mountain

Dinner

Bluewave

Parallel Greens

Sublime Condensation

Silent

Still

Orbit - AEFS(StranglerFig)

Orbit - CFS(Reed)

Trans Deer

Orbit - CF(Haze)

Orbit - E(Irrigation)

Dessins

Contrapunctus XIV (tribute to Georges Bataille’ series)

AdagieVo

Rock in the center of MeKong River

a piece of the cosmic explosion in time

Avatar

0508 1903 1918

0511 1022 1040

0511 1459 1512

0511 1646 1702

0512 1847 1913

0514 1832 1847

0514 1851 1902

0514 1917 1929

0515 1315 1330

0515 1800 1806

0515 1815 1830

0516 1927 1939

0517 0942 0952

0518 0926 0938

0518 1004 1018

0518 1052 1103

0519 1847 1900

0519 1902 1920

0520 1855 1912

0521 0938 0953

0521 1327 1341

0522 1126 1141

0522 1441 1457

0522 1510 1528

0523 0659 0714

0523 1817 1832

0524 0903 0921

0524 1354 1411

0525 0856 0915

0525 0945 1000

0525 1020 1035

0525 1043 1058

0526 1013 1032

0526 1057 1112

0526 1709 1727

0527 0918 0931

0527 1029 1047

0528 2311 2334

0529 1721 1746

0529 1944 1957

0530 0906 0928

0530 1005 1018

0530 1046 1104

0530 1812 1832

0530 1856 1914

0531 0904 0920

0531 1840 1901

0531 1906 1926

Tree

0510-0511

0511-0512

0513-0514

0520-0521

Clouds 1

Clouds 2

Paddy Fields and Trees

Iris

Pieces

Pieces2

Cloud Portrait 1

Cloud Portrait 2

Cloud Portrait 3

Cloud Portrait 4

Cloud Portrait 5

Cloud Portrait 6

Cloud Portrait 7

Cloud Portrait 9

Cloud portrait 10

Cloud Portrait 11

Cloud Portrait 12

Cloud Portrait 13

Cloud Portrait 14

Cloud Portrait 15

Flower Study 1

Flower Study 2

Flower Study 3

Flower Study 4

Flower Study 5

Flower Study 6

Flower Study 7

Flower 1

Flower 2

Flowers with Nishimura

Flowers 1

Flowers 2

Flowers 3

Flowers 4

Daytime Landscape

Paddy Fields and Swallows

The Way Back

Earth and Clouds

Nightscape

Nightscape2

Nightscape 3

Nightscape 4

Portrait of Mountains and Clouds 1

Portrait of Mountains and Clouds2

Portrait of Mountains and Clouds3

Portrait of Mountains and Clouds4

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