REACH, born in 1981 and based in Kaohsiung, Taiwan, began his graffiti journey in 1995. He founded SOUL SKOOL, the first graffiti crew in Taiwan, and has worked with numerous internationally renowned brands. Early in his career, he actively participated in artist residencies and international art festivals in the US, Canada, France, Australia, the Netherlands, Japan, China and more. 


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.

River City Bangkok, in collaboration with the Embassy of Mexico in Thailand, presents “Unportraited”, a solo exhibition by the renowned Mexican artist Diego Rodarte. Known for his experimental and boundary-pushing painting practice, Rodarte brings to Bangkok a provocative new body of work that reimagines portraiture for the contemporary gaze.

Jeon Eun-jin was born in Ulsan, South Korea, and studied both her B.F.A. and M.F.A. in Painting from Hongik University. She develops her work while moving across various regions in Korea. Her work involves reconstructing the sensory experiences of landscapes—encountered up close and personally embodied—onto a canvas.
Her paintings reconstruct the scenes and atmospheres of unfamiliar places that she has collected during her walks. She prefers the sensation of the “unfamiliar–raw–clumsy” to the “familiar–mature–skilled.” Rather than brushing and refining objects to perfection, she often favors expressions that are immediate, candid, and even unfinished. she tends to contemplate the idea for a long time, but executes the painting in a short burst—lightly applying paint to the canvas.
Her key interest lies in capturing the moment when something familiar suddenly feels strange. Recently, she has begun collecting scenes that can only be encountered in the dark, continuing her exploration of the many expressions of “darkness.”


Born in Schwerte, Germany, in 1952, she studied at the Werkkunstschule in Cologne and became one of the first artists to exhibit at the Monika Sprüth Gallery, well-known for presenting only female artists. She is a professor at the Kunstakademie Düsseldorf, in Nordrhein-Westfalen. Trockel’s early works include the series Knitted Paintings (1985), created using machine-knitted fabrics stretched over canvases. In these woolen canvases, Trockel depicts generic computer-generated imagery and, in some cases, particular historical iconography such as a Soviet worker with a hammer and sickle.
The artist continues to work in a wide variety of media and genres, including the creation of living sculptures from garden elements as in Less Sauvages than Others (2006). Rosemarie Trockel has received numerous awards, including the Wolf Prize in Arts in 2011 and the Roswitha Haftmann Prize in 2014. She has exhibited extensively worldwide: in 2012 her work was presented at the New Museum in New York in a retrospective organized by the Reina Sofia in Madrid, that traveled to the Serpentine Gallery in London the following year. In 2018, the Moderna Museet in Stockholm mounted a solo show of her work. Trockel is the first woman to represent Germany in its national pavilion at the 1999 Venice Biennale, and continues to exhibit internationally.

Faozee or Narathip Leewan (b. 1998) is a Thai contemporary artist whose visual language speaks directly to the heart. A graduate of the College of Fine Arts and later the Faculty of Fine and Applied Arts at Chulalongkorn University, Faozee discovered his love for art at a young age and has since regarded it as a “language of emotion”—a way to communicate thoughts and feelings without the need for words.

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.

YuChun Chen (b.1980, Changhua, Taiwan), now living in Tamsui. She received her M.F.A. from the Graduate School of Fine Arts, Fo Guang University. Her works are mainly oil paintings and film photography. She focused on themes of past memories, dreams and the continuity of time, traveling through the atmosphere of both the real and the imaginary.

Zhu Jinshi, born in 1954, is a pioneer of Chinese abstract art and installation art. He began to create abstract paintings in the early 1980s and moved to Berlin in 1986. Since then, he has been experimenting with performance, installation, and conceptual art. In 1994, Zhu returned to
China, dividing his time between Berlin and Beijing until 2010. At present, he lives and works in Beijing.
Looking back at Zhu Jinshi’s art practice over the past forty years, abstract painting and conceptual installation are two practices that parallel each other while sometimes being confrontational. Zhu started his career with abstract painting, but while his installation practice stands alone from his
painting practice, it has also inspired new forms of painting. Only when the two are viewed together can the striking aesthetic value of Zhu’s works be touched.
Zhu Jinshi’s paintings were first influenced by modernism. Three of his works were exhibited in China’s first avant-garde exhibition, the Stars Group Exhibition, in 1979. As one of the first Chinese artists to create abstract art, Zhu initially experimented with random brushstrokes and
limited colour to create abstract paintings. He gradually developed his unique “thick painting” style that he still uses today, which is usually applied with heavy colour and thick paint.

Seo Jaejung’s work explores the translation of perception and spatial sensibility into visual form. Drawing from architectural environments—described as “a space within a space”—she uses elements such as columns, stairs, and arches as mediators that generate layered visual associations. Her compositions often begin with a single line and unfold through the deconstruction and recomposition of architectural structures, revealing psychological forms that exist between completeness and incompleteness. These processes create an “architectural psychological space” where reality and unreality, reason and emotion, intention and chance coexist. Through such multilayered structures, Seo seeks to develop a painterly language that blurs the boundary between two- and three-dimensional space, offering an expanded experience that opens onto another realm.

For nearly two decades, d'strict—an ArtTech Factory—has been producing outstanding convergent content by utilizing a wide range of digital media technologies. Their robust technical capabilities have shaped the company's impressive repertoire, which upholds the ethos, "perceiving the zeitgeist and fulfilling its demands constitute the essence of art and the spirit of the artist."
d'strict excels at designing user-centric experiences that are often customized to suit the specific spaces their projects occupy, which is achieved through a content creation process that integrates a variety of interfaces and displays.
Renowned for its capacity to craft intense visual experiences, d'strict is constantly seeking innovative ways to fundamentally stimulate and reshape the perceptions and thoughts of people in their everyday lives, with the ambition to enhance their quality of life.

Anniketyni Madian (b.1986) is a Malaysian artist celebrated for her contemporary wood sculptures, which draw inspiration from her Iban heritage. Born in Sarawak, her connection to traditional art forms and indigenous craftsmanship is deeply embedded in her work. After graduating from Universiti Teknologi MARA (UiTM) with a focus on sculpture, Anniketyni honed a unique style that blends modern aesthetics with cultural motifs, particularly the traditional pua kumbu patterns. Her intricate woodwork has earned acclaim for its craftsmanship and cultural resonance, offering a fresh perspective on Malaysia's artistic identity and heritage.

Anniketyni’s work has been showcased in major galleries and exhibitions, both locally and internationally, positioning her as a significant figure in contemporary Malaysian art. Her innovative use of wood and her dedication to preserving indigenous art forms have inspired a new appreciation for Malaysian heritage within modern art. By incorporating cultural narratives into her sculptures, she challenges viewers to engage with Malaysia’s rich traditions in a contemporary context. Anniketyni's influence is profound, as she bridges the gap between tradition and modernity, encouraging younger Malaysian artists to explore their cultural roots in innovative ways.

Matthew Antezzo (1962, USA) in the 90s made a substantial body of work which took as their models photographic reproductions that he found in magazines, catalogues, monographs and publications dedicated to contemporary art, particulary art from the late Sixties and the early Seventies, the era that witnessed the birth of the most radical neo-vant-garde movements of the postwar period.

Herbert Matter was a Swiss-born American photographer and graphic designer known for his innovative use of photomontage in posters. Matter also photographed the unique personalities of his friends Alexander Calder and Alberto Giacometti at work in their studios. Born on April 25, 1907 in Engelberg, Switzerland, he went on to study painting under Fernand Léger and Amédée Ozenfant in Paris, before working as an assistant to the famed architect Le Corbusier. During the early 1930s, Matter established his career in design with the posters he created for the Swiss National Tourist Office. Moving to New York in 1936, the artist worked as a freelance photographer for a number of magazines including Vogue, before being signed exclusively by Condé Nast. In the decades that followed, Matter took on many roles, including working as a design consultant for both the furniture company Knoll and the Solomon R. Guggenheim Museum. The artist died on May 8, 1984 in Southampton, NY. Today, his works are held in the collections of the Smithsonian American Art Museum in Washington, D.C., the J. Paul Getty Museum in Los Angeles, and the Victoria and Albert Museum in London, among others.

Jiyoung Yoo studies artificial orders and systems that are found in everyday life, and the history of objects that belong in such system. As a subject of painting, the artist observes and collages various forms of objects such as eggs, water cups, manuscripts, calendars, and clocks that are often categorized as one unit or assembled as a bundle. This unique practice highlights the idea of relations in paintings. Visually intersecting and yet limiting the conditions of systems that each object has, the variations that the artist depicts present a new perspective in her own language.

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

Minji Ryu recalls the emotions she experienced while observing the landscape in her daily life and investigates the manner in which gathered images are displayed in paintings. As a graduate of the Department of Fine Arts at Seoul National University of Science and Technology, she acknowledged the inevitable gap between the experience of gazing at reality and drawing it and took a moment to recognize the landscape that was shared through abstraction and conceptualization. Her paintings focus on the experience of seeing and reproduce the impression produced by substituting an object for a function consisting of light and darkness as a physical image. In this manner, the artist hopes that paintings will serve as a channel for evoking past experiences in the minds of the audience, so reviving their perspective on current life. 

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.

Mit Jai Inn (b. 1960, Buak Khang, Thailand) lives and works in Chiang Mai and is known for his distinctive color based works. Using palette knives, hands and fingers, he builds vibrant, densely layered pieces that press past the conventional boundaries of painting and hold both manual and optical labor within them.

Rooted in a rigorous physicality, the work serves as a channel for responding to aesthetic, social and political contexts, and reflects a range of histories from the traditional division between Western and Eastern painting to Thailand’s shifting political landscape. Since returning to Thailand in 1992 he has been involved in socially and politically engaged art campaigns, and he co-founded three non-institutional initiatives central to Thai art practice and discourse: Chiang Mai Social Installation, the Midnight University and The Land Foundation. In 2015 he founded Cartel Artspace in Bangkok, a gallery that gives free space to artists reflecting on the political history and present condition of the country and region, and in 2017 he co-initiated the independent Bangkok Biennale.

His traveling institutional solo exhibition Dreamworld #dreammantra was presented at MAIIAM Contemporary Art Museum in Chiang Mai, having previously been shown at Ikon Gallery in Birmingham and the Jim Thompson Art Center in Bangkok. His work has been included in solo and group exhibitions at TKG+ in Taipei, Kaohsiung Museum of Fine Arts, Mori Art Museum in Tokyo and Palais de Tokyo in Paris, and he has participated in the Aichi Triennale, the 21st Biennale of Sydney at Cockatoo Island, the Singapore Biennale and the Yokohama Triennale.

Deborah Segun (b. 1994) is a multidisciplinary artist from Lagos, Nigeria, and now based in London, UK. She obtained a degree in Fashion Design at the Polimoda Institute of Fashion Design and Marketing in Florence, Italy in 2017. During her studies in fashion, she translated her own art
production into clothing, creating conceptual and sculptural wearable pieces.

Born in Tehran, Iran in 1972, Golnaz Fathi is an influential member of a currently thriving generation of artists to surface in Iran over the last twenty years.
Fathi investigated ever more abstract forms of representation, using modern media to aid these explorations, while still basing her work on fundamental calligraphic practices and techniques. The introduction of bold swatches of colour further emphasised her transition from a codified system based on prescriptive rules to an alternative idiom that gave precedence to her own imaginative modes of subjective expression.

Alex Face (Patcharapon Tangruen) is a renowned Thai graffiti artist celebrated for his thought-provoking street art that transcends boundaries in Thailand and beyond. In 2009,
inspired by his newfound fatherhood, he introduced a distinctive three-eyed, bunny-eared character symbolizing innocence and wonder. Known for his street art skills and mastery of European old masters' techniques, Alex Face has seamlessly blended traditional and contemporary elements. In 2022, he marks two decades in the realms of street art and BANGKOK CITY CITY GALLERY fine arts, leaving an indelible imprint on the urban landscape and art scene worldwide


Artists