Wichuda Khuntijit (b. 1999) is a rising voice in the new generation of Thai female artists, known for her quiet strength and unwavering dedication to her craft. She holds a Bachelor’s degree in Visual Arts from the Faculty of Fine Arts.

Panuwat "Pay" Kamdee, born in 1999 in Chiang Mai, Thailand, pursued his studies in Fine Arts at Silpakorn University, Bangkok, where he cultivated a unique style that merges traditional Thai art forms with modern techniques and natural pigments. His work often explores the concept of a societal harmonious allegory, symbolizing ideals of unity, balance, and peaceful coexistence. Drawing from Thai mythology and folklore, Pay expresses these themes in a surreal, dreamlike style, presenting accessible and playful pieces that resonate with audiences. His work reflects his childhood memories, making his art both nostalgic and relatable.

Pay has exhibited extensively both in Thailand and internationally, earning acclaim for his innovative approach and thoughtful exploration of environmental and social issues. His art subtly addresses these concerns, inspiring audiences to recognize the depth of his work and its connection to Thai cultural identity. He has also participated in various community art projects, using his platform to promote sustainability and cultural preservation.

The artist's work invites us to pause from our busy lives and direct our attention to the whispers within our hearts. This is likely because her work, even though it is full of the small and ordinary things of life, evokes a dreamy and free-spirited feeling reminiscent of childhood memories filled with all sorts of imaginations. Furthermore, the clumsy and unadorned appearance, reminiscent of a child's, also captures attention. These rough but heartfelt feelings seem to make the entire work soft and warm. The screen is full of childlike freedom, unspoiled purity, and honesty. As if following the old saying that great skill is rather clumsy, the artist's work transcends the confines of skill and style and freely conveys the artist's heart as it is.(Min Byung-jik, Curator)

FAHFAHS (ฺBorn in 1992), also known as Napath Kuntaruck, embodies the essence of an artist – a Thai visionary skilled in illustration and masterful in crafting characters. For over a decade, FAHFAHS has transversed the realm of artistry, weaving her creative tapestry. Her passion for sketching ignited during childhood. Throughout her school days, she often engaged in impromptu drawing contests and clandestinely etched sketches into her notebook, harboring a dream that one day her work would bring joy to the hearts of others.
During her studies at the Faculty of Architecture, Silpakorn University, FAHFAHS embarked on an artistic journey intertwined with her academic pursuits. While immersed in learning, she concurrently delved into various art forms, including watercolor painting, digital illustration, and the inventive creation of works derived from her drawings. Whether manifested in notebooks or stickers, FAHFAHS’s creations consistently narrate tales brimming with joy and positivity, delivered through the guise of a young girl character with flowing hair and wide, captivating eyes – an embodiment of FAHFAHS herself.
The pivotal shift in FAHFAHS’s artistic journey commenced in 2022 when she joined the group exhibition titled “When Snowflakes Fall” at River City Bangkok. Here, she spun tales of the Snowy Fairy, celestial beings emerging in the winter, of which featured a character named ‘Midnight’ – a black-clad fairy embracing sorrow and consuming darkness, starkly different from the cheerful others. Midnight became the embodiment of loneliness, imperfection, and solitude, resonating deeply within the viewer’s souls, captivating them as the most beloved character. From this genesis, FAHFAHS found inspiration in exploring human emotions and delving into the uncharted territories of her own psyche – emotions like loneliness, solitude, and profound despair along the artist’s path, Nonetheless, FAHFAHS believed that transcending this darkness required an immense inner strength, gradually forged from within. This struggle culminated in her solo exhibition titled “Basement in Your Soul”, marking her inaugural solo showcase, born from the depths of her being.This exhibition received a warm welcome from the media and collectors, and all artworks were sold out. In the same year, FAHFAHS brought her Art Toy to participate in the Pop Toy Show 2024 in Singapore and received a warm welcome from collectors in Singapore and other countries in Asia.


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.

‘Munins’ or Munin Saiprasart (Born in 1988), stands as an acclaimed artist, writer, and illustrator with a reputation spanning over a decade. Her passion for comics ignited in childhood, kindling dreams of mastering the art of drawing. Life, however, took a detour as she pursued studies in the Faculty of Architecture at Khon Kaen University. Post-graduation, Munins redirected her path to pursue what she genuinely loved – cartoon drawing. Starting with grayscale graphic novels, she wove tales of diverse relationships, resonating with warmth, tenderness, and a touch of romance. 

Munins’s standout quality lies in her ability to breathe life into characters that communicate emotions and feelings so profoundly that readers are left feeling as if her creations exist in the tangible realm. This evokes a sense of attachment and connection, weaving an intricate bond between the audience and her characters. In addition to the captivating strokes that captivate the viewers, Munins is also a wordsmith extraordinaire, skillfully conveying both joy and sorrow simultaneously. This dual mastery has earned her a legion of book enthusiasts, propelling her to become a writer and illustrator with a Facebook following of over 600,000 avid fans. 
Embarking on a journey from the realms of comic writing, Munins made a foray into the fine arts scene in 2022 with the exhibition “B-Side” at Palette Art Space. Here, she showcased both digital works and NFTs. Following this, Munins continued to make waves with collective exhibitions like “Shall I Compare Thee to a Summer’s Day?” (2022) and “To the Moon and (Never) Back” (2023) at River City Bangkok. Her first solo exhibition “Blackout” (2024) that marked a significant turning point in Munins’s artistic career as she pushed her creative boundaries, crafting works that grew more daring and challenged her own artistic limits. Munins chose to narrate life stories and relationships in an unconventional, rare format, drawing directly from her own experiences. The predominant use of black, a color she once avoided for its stark clarity, added depth to her compositions. Additionally, Munins experimented with previously unexplored color palettes, coupled with a transformative shift in her creative process. Formerly centered on structured storytelling, her approach evolved into a form of liberated drawing, allowing emotions to guide lines and leading her into uncharted dimensions. Notably, many pieces in the exhibition emerged from Munins’s semi-conscious or blackout stages, aligning seamlessly with the very essence of the exhibition’ title. The Blackout exhibition has received an excellent response from viewers and collectors.


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.


Tarnia Marmolajo
b. 1975, Santo Domingo, Dominican Republic
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Tania Marmolejo’s distinctive Caribbean heritage and Scandinavian roots have greatly influenced her approach to creating contemporary art. Tania studied graphic design and illustration in Norway before returning to the Dominican Republic to pursue fine art at the Altos de Chavón School of Design. In 1998, she earned the Bluhdorn Scholarship, allowing her to continue her education at Parsons School of Design in New York, where she graduated with a degree in Fine Art and Illustration in 2000.
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Her artistry is a powerful exploration of the human experience, transcending conventional boundaries and redefining the world of figurative art. Through her mesmerizing large-scale paintings, she delves into the complexities of gender, identity, and cultural heritage, drawing from her unique Swedish-Dominican roots. Marmolejo Andersson skillfully weaves a mysterious realm of enigmatic female portraits that elicit deep emotions and empathy in viewers, while simultaneously addressing social issues and promoting women empowerment. Her innovative approach to capturing emotions and conveying powerful narratives through her art has earned her a prominent position in the contemporary figurative art scene.
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Tania Marmolejo’s work has participated in numerous solo exhibitions from around the world, including “As Far As Your Eyes Can See”, KIAF Seoul, Eligere Gallery, (South Korea, 2022); “The Dream And The Voyage”, CICA Vancouver (Canada, 2022); “elenovela Life”, GR Gallery, (USA, 2022); “Santas y Tígueras”, Museo Cándido Bidó, Bonao, (Dominican Republic, 2020) and “(In Between)”, Galleri Nord- Norge, Harstad, (Norway, 2018). Her work has also been featured in group exhibitions, such as “You Me Me You”, Nicodim Gallery, (USA, 2022); “Summer Camp”, GR Gallery, (USA, 2021); “Vibraciones Conteporáneas”, Lyle O Reitzel Contemporary Art, (Dominican Republic, 2021) and “CONTEXT”, Art Miami, Lyle O. Reitzel Gallery,(USA, 2017).

JuAe Park presents works in this exhibition that take the body itself as material. At the intersection of mural labor and artistic practice, the work documents acts of applying paint directly and rolling across the floor as panoramic images.

Kim Joo-hyun's current works represent a series of creative endeavors striving to exclude conventional drawing devices, such as vanishing points, which were habitually employed in the past. While the artist intervenes to generate images on the canvas, the work is completed by focusing solely on creating color, ensuring meaning and intention do not surface. Water-based acrylic paint is applied horizontally, allowed to settle and dry, or tilted to induce flow. Through this process, the canvas reveals a natural visual topography. As artist Kim Joo-hyun stated, the “stability derived from uncertainty” does not resolve into form, stemming from an effort to constantly evade things defined and fixed by meaning. Since neither subject matter nor theme drives the image, the completed work evokes the artist's experienced synesthesia and fleeting moments. As seen in 〈Destiny of Warmth〉 (2025), diluted pigments accumulate, erode, and leave powdery residues. The duration of the production process remains unknowable until one observes the layers of color built up on the canvas's edges. However, it is intriguing that the physical time required for the layers of water and pigment to settle and stabilize on the canvas is comparable to that needed for the sedimentary layers or soil in an actual riverbed.


Heesung Yang layers and compresses personal experiences and landscapes through a process of painting and erasing. A hometown walking path, the studio, and fragments of everyday scenes are not fixed to a single place; instead, they are condensed into planes where multiple temporalities and emotions collide. Through repeated revisions, the landscape shifts from mere capture to an act of recording, while traces that have yet to find their place connect new spaces within the canvas.

Viriya Chotpanyavisut graduated with a Master’s degree with mention from Ecole Nationale Supérieure d’Arts Paris-Cergy in 2011. Before that Bachelor’s degree with congratulation in Visual Arts at L’Ecole supérieure de beaux-arts de Toulouse 2009 and earned Bachelor’s degree fine art photography at the Rangsit University in Bangkok 2004. Viriya is an artist whose photographic work is characterized by his ability to capture fleeting environments and imbue everyday objects with a poetic and immaterial dimension. In his photography and video, memory becomes a complex concept that goes beyond individual perspectives. Viriya’s work delves into intricate details often overlooked, presenting a silent and isolated world that encourages viewers to explore beneath the surface, fostering emotional reflection over explicit facts. He was involved in numerous international group exhibitions including: Fond d’art contemporain de Paris, France (2023), FRAC Auvergne, France (2017-2022), Silpabhirasri Creativity 19. Art centre Silpakorn University, Bangkok, Thailand (2022), Parc st leger Centre d’art contemporain, Paris (2020), Temporal Topography, MAIIAM Contemporary Art Museum, Chiang Mai, (2019), 38th Eva international, Ireland biennale (2018), Rendez-Vous 11, L’Institut d’Art Contemporain de Villeurbanne, France (2011).
Viriya has exhibited in solo shows at the Gallery N/A, Seoul, South Korea. (2022), Galerie de Multiple, Paris France (2020, 2014 & 2012), Ver Gallery, Bangkok, Thailand (2020). He is represented by the Galerie de Multiples, Paris, France & Ver Gallery, Bangkok, Thailand.

Chanida Voraphitak is a distinguished illustrator deeply rooted in the realm of graphic design. Having honed her skills as an art director within the fashion magazine industry and mastering the art of animation, she has discovered an ardent devotion to crafting intricate illustrations imbued with an animalistic allure. Her creative process is marked by meticulous research and recollection, resulting in an inimitable amalgamation of line patterns. With an unwavering embrace of limitless imagination and unrestricted material choices, Voraphitak’s manifests captivating works across an array of mediums, spanning drawing, illustration, product and textile design, as well as installations.

Mira Park (b.1982) navigates the space between consciousness and the unconscious, constructing layered compositions grounded in black. Her works depict surreal combinations of humans, animals, plants, and objects—grotesque, unstable entities that seem to move independently within the frame. These forms suggest stories, yet deliberately resist any fixed narrative. Through recurring motifs like holes, doors, and windows, she blurs the boundary between the real and the virtual, hinting at the possibility of other dimensions. Horn-like forms—recalling tentacles, branches, or hands—suggest fluid mobility and a sense of continuous dimensional shift, pulling the viewer into the unknown.

Mahdi Abdullah is one of Indonesia’s most significant painters. He graduated from Faculty of Architecture in Banda Aceh (1988) before earning his master degree at Indonesian Art Institute Yogyakarta in 2012. His works use realism to depict his anxieties about the social reality that he has witnessed while focusing on the life of common people from his hometown. At first, the images might look calm and peaceful but there’s dualism existing in each work.
“It is an introspection, an inventory of his thoughts and feelings that he found inside. Sometimes they’re dreamy, poetic, sometimes mirroring fears and terror, leaving the plane of realism and opening almost surrealist dimensions,”-quoted from art writer Anton Larenz about Mahdi’s realist approach.
He has several exhibitions locally and internationally, with his works present in various collections from museums, galleries and private collectors abroad.


Matías Sánchez is a self taught artist currently living and working in Seville, Spain. Through his own exploration, the artist developed a signature style of vivid painterly surfaces as a backdrop against spirited characters and objects. His aesthetic and sometimes subject pays homage to Post-Impressionist artists such as Paul Gauguin. At times smoothly rendered, at times crudely abstract, the artist uses recurring images including sausages, bones, rats, people with menacing expressions, to form grotesque dreamscapes, exploding with energy.

Grems or Michaël Eveno born in 1978 in Paris, now based in Biarritz, France. A complete artist with an overflowing energy, Grems is this kind of unstoppable artist that will always push the boundaries til the end. His two main creative tendencies, art and music, developed alongside one another, are teasing and forcing each other to more energetic production in order to always create something unexpected while keeping his well known and unique style.


Tum Ulit or Natakorn Ulit (ฺBorn in 1992) is an artist, cartoonist, and storyteller enamored with the world of cartoons since childhood. He completed his undergraduate studies in Animation Production at Mahidol University International College (MUIC). His passion for cartooning stems from a profound need to articulate and navigate through deep-seated pain and sorrow nestled within his soul. Through the art of cartooning, Tum discovered a transformative medium, allowing him to explore his innermost self and the intricate nuances of his emotional journey. 

Tum Ulit first gained recognition among readers through his webcomic series featured on his page “Tum Ulit”. What distinguishes him is his ability to narrate stories through visuals alone, reaching deep into the emotions and touching the souls of readers from diverse backgrounds and languages worldwide. This unique approach has inspired him to continuously create works that resonate as ambassadors of people’s emotions. Tum Ulit hopes above all that his creations spark profound reflections and become symbols of apologies, remembrance, or lingering sentiments in people’s hearts. Presently, his page boasts a global following of over 1.7 million individuals. 

In 2022, Tum Ulit made his debut in the art scene with the group exhibition “Shall I Compare Thee to a Summer’s Day?”, followed by “To the Moon and (Never) Back” in 2023 and his first solo exhibition, “Who’s Cutting Onions?” (2024) which all held at River City Bangkok. These showcases, especially his solo exhibition, captured the attention of collectors and enthusiasts alike, both locally and internationally. 


I Kyoung Ha begins with landscapes encountered in everyday life and on her travels, quietly drawing out the “traces of time and emotion” that remain in moments easy to overlook. Rather than rushing to define what she sees, she holds the scene in a sustained, contemplative gaze, then translates the subtle movements of the heart into paint. In her work, calmness takes precedence over drama; by withholding exaggerated emotional peaks, she allows a gentler resonance to surface—one that offers viewers a soft, lingering consolation.

What matters in her practice is less “what is depicted” than “how one stays with the scene.” Different affects—warmth and ease, or solitude and faint melancholy—interlock quietly within a single frame, inviting viewers to encounter their own memories and emotions without strain. I Kyoung Ha favors subdued chroma and controlled value, building density through a traditional painterly process that often begins with a dark underpainting and gradually shifts from shadow toward light. Through this method, she constructs an inner temperature and temporal depth that extend beyond the image on the surface.

Having earned a BFA in Painting from Hongik University and completed coursework in Special Video & Graphic Design at Sogang University’s Graduate School of Mass Communication, I Kyoung Ha has consistently expanded an attitude of “looking” and “staying”—as suggested by series titles such as Gaze of Stillness (2024), A Looking Heart (2023), and Quietly Swaying (2022). Across her exhibitions, she continues to refine a visual language that does not insist, but remains—so that time, feeling, and silence can be held with care.

Artists