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.

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. 

Marionne Contreras (b. 1992) is a visual artist based in Manila, Philippines, with a current emphasis on fiber and fabric based works. Her works are diaristic, often with themes of memory, its persistence, its purity, and its vulnerability to tampering, with constant undertones of womanhood, consistently taking the role of the female as narrator; taking visual inspiration from textures and forms found in nature while maintaining an aesthetic that leans towards the synthetic.

Highly aware of the universality of the personal, her works often carry intimate personal narratives despite her conscious decision to highlight their ornamental nature – to always stage them as a tableau of beauty given the parameters in which the very idea of “the beautiful” is meant to work.

She has been actively exhibiting in The Philippines. Her most recent one-person exhibition, Poetry has left me, has concluded last 10th of November, 2023 in Vinyl On Vinyl Gallery, Makati City, Philippines.

Ikumi Nakada is an artist who captures the pure emotions of childhood and inner landscapes through delicate brushstrokes, precise pencil lines, and soft color palettes. Her work often centers on children (or childlike figures), surrounded by spaces and objects rendered in dreamy and nostalgic tones. Drawing from her observations of children’s behavior, her pieces evoke both the innocence of youth and the bittersweet nostalgia of adulthood. Using oil paints and pencils, she meticulously reimagines childhood memories in pastel hues, inviting viewers to immerse themselves in their own past emotions. The children in her artworks often display serene or nonchalant expressions, appearing like remnants of forgotten feelings from adulthood. Born in Saitama Prefecture, Japan, Ikumi Nakada earned a degree in literature and art from Seijo University and later studied illustration at the Vantan Design Institute. Her works have been exhibited in various countries, including Japan, Taiwan, the United States, and China. In 2021, her piece Not Angry was auctioned at Ravenel in Taipei, achieving a final bid of $14,561.


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. 


Jin Han investigates and depicts incidents related to universal feelings of sadness and anxiety. She is currently studying visual arts at Seoul National University of Science and Technology, she actively exhibits his work to the public. The artist analyses emotions such as melancholy and an inherent sense of isolation, beginning with a sensation of anxiousness based on fragments of autobiographical recollections. The artist creates a distinctive sense of self-using thin, overlapping, and dripping brushstrokes to 'bring out' the memories and feelings onto the canvas. Through her art, she offers contemporary audiences a message of shared experience, empathy, and healing.

N5BRA, also known as Nobra, began his career in illustration and has since expanded into painting. His distinctive name reflects a playful and intense experience, adding logic to his fragmented identity and allowing him to freely express his way of life. His work initially focused on the human body, gradually expanding to themes of self-portraiture and existentialism.

In his artwork, the body is a crucial element. The recurring female nudes are both a primary subject and a central theme of his pieces. Some interpret these nudes as objectifying and othering the female body or as tools to reveal sexuality linked to his pseudonym. However, in reality, his nudes are a form of self-portrait. The eroticism in his works stems from human existence and the anxiety it brings.

Through his art, N5BRA poses ontological questions to the audience. These questions have transitioned into a new medium, oil painting. The thick texture and multiple layers of oil paint demonstrate the artist's process of proving his existence within the void of meaninglessness. The oil medium captures the intersection of N5BRA’s experiential life and objective perspective. This desire for self-rootedness and validation stems from his experiences of anxiety without a clear object.

The figures in his works reflect his inner turmoil as he searches for purpose and direction in life. The intertwined curves are striking, and the organic structure is not arranged with a single purpose but emerges from countless strokes and accidental elements on the canvas, creating abstract forms.

The inner anxiety and life's struggles cannot be expressed through a simple plane or a single line. The generally dark tones, deep contrasts, expressionless gazes of the figures, and undulating lines and brushstrokes suggest a long-standing anxiety submerged in calmness. The emphasized dynamism and randomness are arranged according to N5BRA’s unique sense, evoking a life of chaos and stability, harmony and imbalance, progress and stagnation.

Bosco Sodi is an artist working globally, known for his densely textured paintings and objects with rich and vivid colors. His paintings are crystallized forms of arduous physical application; a constant cultivation of removing any hint of his own intent in the painting and populating the surface with the essence of material and fortuitous development. The artist works with the canvas laid down horizontally, applying a viscous mixture of soil, sawdust, glue and pigment to aggregate and then left to solidify over time. This process is a performance of sorts. That performance may last up to several months, with each accumulated strata of material testimony to the artist’s actions. Eventually, in that process, the layers cleft, and that is when the performance ends. From then on, all is left to time and nature’s forces. Cracks appear naturally on the surface and traces of material transforming from the material to the substrate to the whole of the artwork - a strikingly formal experiment in painting. Sodi’s works are included in various public and private collections, such as Ishikawa Prefectural Museum of Art, Kanazawa; Harvard Art Museums, MA; Museum of Contemporary Art, Antwerp; Museum Voorlinden, Wassenaar; and the National Gallery of Victoria, Melbourne.


Influenced by Dansaekhwa, the Korean monochrome painting, and the Japanese Mono-ha movement, Kim Yong-Ik established his career in the late 1970s with his Plane Object paintings, a series of airbrush paintings on unstretched canvases that relate to these traditions. In the 1980s, having completed a thesis on Marcel Duchamp, Kim moved from the ‘Plane Object’ series to more abstract and geometric languages. During the 1980s and 1990s, he developed increasingly experimental work by using scraps and thus including forces greater than his own imprint, such as stains, hair or dust. By the early 1990s, Kim develops his “polka dot” series consisting of paintings depicting simple and serialized arrangements of circles.

In 1999, Kim helped establish one of Korea’s leading exhibition spaces known as “art space pool.” He participated in the Gwangju Biennale in 2002; in “SeMA Gold 2012: Hidden Track,” an exhibition at the Seoul Museum to shed light on stellar artworks by mid-career artists of Korea; and the 5th Yokohama Triennial in 2014. In 2016 Kim was the subject of an extensive retrospective at Ilmin Museum of Art in Seoul. His first exhibitions in Europe were at Spike Island, Bristol, and a partner exhibition at the Korean Cultural Centre UK, in 2017.  Kim Yong-Ik’s works are part of the permanent collections of the National Museum of Modern and Contemporary Art, Seoul Art Museum, Leeum, Samsung Art Museum and Tokyo Metropolitan Museum of Art, and the Museum of Contemporary Art in Los Angeles, among others.

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.

Nor Tijan Firdaus (b.1986) is a Malaysian contemporary artist recognized for her innovative approach to mixed media art. With a background in Fine Arts, she has a keen focus on sustainability and environmental awareness, often using electronic waste as her primary medium. Her work reimagines discarded technology, transforming it into intricate art pieces that challenge the traditional definitions of beauty and value. This distinctive use of e-waste not only reflects her technical skill and creativity but also raises awareness of the environmental impact of consumerism, establishing her as a unique voice in the Malaysian art scene.

Tijan’s impact extends beyond her exhibitions, as her work has sparked conversations on sustainability in art and broader society. She has gained recognition through awards, notable exhibitions, and collaborations with environmental organizations, positioning her as a prominent advocate for eco-conscious art in Malaysia. Her influence has inspired a new generation of artists to consider the environmental implications of their materials, marking her as a pivotal figure in Malaysia’s evolving art landscape. Through her work, Tijan has contributed to a growing discourse on sustainability in art, bridging contemporary creativity with pressing environmental concerns.

 ByungHo Lee (b. 1976) received both his B.F.A and M.F.A in sculpture from Hongik University, Seoul. Solo exhibitions of his work have been organized at PIECE (Perigee Gallery, Seoul, 2023), Three Shades (SPACE SO, Seoul, 2020) and BLOW UP (Gallery Zandari, 2009). Additionally, Lee participated in several group exhibitions including The Chronicle of Lost Time (SNU Museum of Art, Seoul, 2021), Repetition and Difference: About Time (Busan Museum of Art, Busan, 2019), Aging World- Will you still love me tomorrow? (Seoul Museum of Art, 2019), and Medicine and Art: Imagining a Future for Life and Love (Mori Art Museum, Tokyo, 2009). Lee has received awards such as SeMA Young Artist from Seoul Museum of Art, Korea (Seoul, 2011), and the 29th Joong Ang Fine Arts Prize, Korea (Seoul, 2007) and has participated in art residencies at Gyeonggi Creation Center (Gyeonggi, 2013) and Nanji Art Studio of Seoul Museum of Art (Seoul, 2010). His works are housed in collections of esteemed institutions like the Seoul Museum Art, Busan Museum of Art and Suwon Museum of Art.

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.

Dohyun Kim has visually expressed internal rest, recovery, and stability on the canvas. He fills the canvas with irregular patterns of cardboard shaped in flat waves and colors it with stable hues reminiscent of nature, abstractly visualizing the human inner realm. Within the screen constructed of repeated lines and gaps, and within the rhythm of layered and filled colors, he builds the order of spontaneously emerging forms, colors, and spaces.

While painting, LIM Nosik’s (b. 1989) body is embedded in everyday scenes. However, the psychological distance from which he looks at it is either closer or further than ordinary days. The subject of his recent work is a question about how to sense landscapes. It focuses on the individual's response to it as much as on the characteristics of the physical properties of a place. The Workroom (2023) is a series of paintings of the studio desk viewed from different times and directions, almost life-sized. The foggy, blurred screen depicts the appearance of weathered memories over time. It is an attempt to capture the world vibrating in the distance of time and space by visualizing the layer of air placed between the landscape, canvas, and himself.




LIM Nosik was born in Seoul, Korea, in 1989. He received his BFA in Oriental Painting at Hongik University in 2015, and MFA in Fine Arts, School of Visual Arts at Korea National University of Arts in 2017. He has held solo exhibitions at various institutions such as Kumho Museum of Art (Seoul, Korea, 2023), Project Space SARUBIA (Seoul, Korea, 2023), Window Gallery, Incheon Art Platform (Incheon, Korea, 2020), Artspace Boan 2 (Seoul, Korea, 2020) and Hapjungjigu (Seoul, Korea, 2017), as well as group exhibitions held at ARARIOGALLERY SEOUL (Seoul, Korea, 2024), SongEun (Seoul, Korea, 2023), Ilmin Museum of Art (Seoul, Korea, 2023), Art Center White Block (Seoul, Korea, 2022), SFAC Seoul Art Space Geumcheon (Seoul, Korea, 2021), Amado Art Space (Seoul, Korea, 2020), and more. The artist gained attention for being selected in the Kumho Museum of Art and Kumho Young Artist 2022. He was the artist-in-residence at the SeMA Nanji Residency (Seoul, Korea) in 2019, and also was the artist-in-residence at the SFAC Seoul Art Space Geumcheon (Seoul, Korea) in 2021. His works are collected by institutions such as the National Museum of Modern and Contemporary Art’s Art Bank, Gyeonggi Museum of Modern Art, Ilmin Museum of Art, and more.

Gon Jeong depicts diverse forms of love through his paintings He is currently working in Seoul and gets inspiration from people's conversations and emotions. It is believed that it is completed through the process of being comforted and empathized in everyday human relationships, and the artist intends to convey a message of consolation to visitors through love-themed works.  

Cildo Meireles creates complex installations and sculptures that entice the viewer and challenge political, philosophical, and aesthetic precepts. Meireles’s artistic practice was shaped by the social and political conditions during the dictatorship of Brazil in the 1960s and ‘70s, and by the Neo-Concretism and avant-garde movements. Like his predecessors, Meireles merges physical, cerebral, and sensorial elements in works that elicit audience participation.  While Meireles’s works are often created in response to specific political events and situations, they evoke universal themes that are communicated through the viewer’s experience in a shared, rigorously designed and defined space.
Meireles’s work has been exhibited internationally, including the Biennales of Venice, Italy (1976, 2003, 2005, 2009); São Paulo, Brazil (1981, 1989, 1998, 2010); Documenta, Germany (1992, 2002); and Istanbul, Turkey (2003, 2015). The artist has been the subject of several large-scale and traveling solo exhibitions at renowned institutions, including Sesc Pompeia, Sao Paulo, Brazil (2019); Centro Nacional de Arte Contemporaneo Cerrillos, Cerrillos, Chile (2019); Fundação de Serralves, Portugal (2014) HangarBicocca, Milan, Italy (2014); Museo Nacional Centro de Arte Reina Sofía, Spain (2013); Museu d’Art Contemporani de Barcelona, Spain (2010); Museo Universitario Arte Contemporáneo, Mexico (2010) and Tate Modern, England (2008).

Doyo is a collage artist that focuses mostly on album cover design, print artwork, and art directing. The artist who became interested in collage work in 2016, studies Photoshop by himself and combines every item to communicate imagination and romance. Through the artist's unique use of colour and atmosphere, conveys to modern people the romance and relaxation of daily life.

Rosemarie Trockel, limited edition including original artwork

Rosemarie Trockel, Revue N°1-2

Singing Birds

Marketplace

Exhibitions

3D On View

About

EN
$

Marketplace

Exhibitions

3D On View

About

My Page

Featured Artists on Artue