Yun Taein’s practice can be understood as an exploration of how soft and fluid materiality shifts into the language of structure and form. Taking materials such as clay and sponge—substances that respond sensitively to external pressure and contact—as her point of departure, the artist attends closely to the moments in which the movement of the hand, the resistance of the material, and the incidental traces produced in the making process become layered and accumulated. Impressions, curves, smudges, and tears left on the surface are not treated merely as by-products of process, but as formative clues that anticipate the structure of the work to come. In particular, organic forms that emerge in a pliable state are later transferred into materials of opposing character through processes such as metal casting or wood carving, allowing the traces of softness to become newly embedded within hard and solid matter. In this way, Yoon Taein’s work delicately reveals the moment in which one materiality is translated into another, traversing sensation and structure, pliancy and solidity, accident and construction. While her furniture and objects reference functional forms, they do not remain confined to the realm of utility; instead, holding within them the residue of sensation and the memory of material, they invite reflection on the sculptural potential inherent in softness.

An artist who uses the domestic realm in her work as a starting point for discussing broader matters such as the domestication of women’s politics, authoritarianism and fascism, patriarchy and capitalism, which are still there and have been her concern. 

Dian Suci often displays her work with an awareness of space, depicts body experiences, and plays the composition of objects as metaphors of what she really wants to convey. Dian uses a variety of media for her works, including installations, paintings and videos. 

Duck Yong Kim (b. 1961) is an artist who modernizes traditional Korean aesthetics by working with materials such as wood, mother-of-pearl, rubbings, and traditional Korean painting techniques like Dancheong. His work explores the philosophical relationship between nature and humanity. His recent solo exhibitions include Live – Light and Grain (Gallery Now, Seoul, 2024), Yearning – Permeate through the Grain (POSCO Art Museum, Seoul, 2023), Ocean Rhapsody (SOLUNA Fine Art Gallery, Hong Kong, 2023), Auspicious Dreams (Leehwaik Gallery, Seoul, 2023), and Between Borrowed and Original Landscape (Youngeun Museum of Contemporary Art, Gwangju, Gyeonggido, 2022). Since 1992, Kim has held over 25 solo exhibitions and participated in numerous group shows. His works are part of the collections of the Kyunggi Province Art Museum, the National Museum of Contemporary Art, the Korea National Maritime Museum, the Pak Kyongni Toji Cultural Center, the Park Soo-keun Museum, the Seoul Museum of Art, the Korean Embassy in Switzerland, the Abu Dhabi Tourism and culture Authority, and POSCO. Kim graduated with a degree in painting from Seoul National University and holds a master’s degree in Oriental Painting from the same institution.

JiHoon Cho continues his work with the purpose of exploring the value of art through an understanding of consumer culture. He analyzes the impact of consumerism on modern life, focusing on how it shapes personal identity and social status while simultaneously exacerbating environmental destruction and social inequality. His work invites viewers to reconsider fundamental human values within consumer culture, promoting critical thinking and reminding them of the necessity and role of art. To achieve this, the artist visually expresses the hollow yet seemingly attractive nature of consumer culture by associating it with the emptiness conveyed by the transparency of glass, emphasizing the critical function of art.

Zhu Peihong was born in Shanghai in 1987 and graduated from the printmaking department of Beijing’s Central Academy of Fine Arts in 2014 with a master’s degree.
The artist’s My Space series focuses on the dots, lines, and colour patches that flash in the picture in the process of creation as well as the traces left on the picture due to their convergence and dissolution. In this creative process, the strokes overlap and cover each other, and the paint slowly
drips and spreads, solidifies and stops, repeatedly until these fragmented traces, reaching an internal order, organically connect with each other and construct the conscious cyberspace perceived by the artist’s mind. The abstract dynamic air dome installation 'Space O' uses virtual reality technology to replace brushes with handles and canvas with the sky, releasing the magnificent colour energy existing in the universe. The artist combines art and technology to build a channel between virtuality and reality, connecting it with our world.

Eunju Jeong is an abstract artist currently living and working in Daegu, South Korea. After graduating from a Masters degree in Western Painting at Kyemyung University, Eunju Jeong studied abroad at HBK Braunschweig in Germany, where she reached a deeper dimension in her color surface abstract paintings through a calm and stable exploration of the feelings and sensations of color. The artist focuses on expressing her inner flow through various colors that surface the canvas, and has had numerous solo and group exhibitions in various cities at home and abroad (need the names), working both on various flat works and semi-cubic sculptures. For over 30 years, Jeong's work has gone through a process of transformation, from painting to semi-cubic abstraction on acrylic and wooden boards, to a return to painting on canvas. To this day, she continues to work on imagining, contemplating, and dreaming through material and physical attributes, while evoking the emotional and tangible, as well as sensing what cannot be verbalized, codified, or most importantly, reproduced. Jeong's paintings are similar in appearance to chromatic abstraction through the  paint smears, brushstrokes, layers of color, the subtle spaces and crevices they create, the trajectory of the paint as it flows toward the floor by the law of gravity, and the way it smears and solidifies. It also allows us to see the myriad traces of the painting's progress and the passage of time that reveals all of its processes. These dense, wet paintings, with their cool, bold brushstrokes, are at once highly performative and a longing for a representation of a world that cannot be represented, a world that lies outside of visibility but is clearly felt and sensed. At the same time, they are paintings with impressions and tones that evoke a very specific empathy with the beautiful nature.

Ryoko Kaneta
b. 1991, Ibaraki, Japan

Kaneta takes inspiration from Ancient Japanese Philosophy, including ideologies such as God being one that dwells in all beings. Her artworks express the existence of Gods, Natural Phenomenons, and knowledge that goes beyond the human mind. The narrative exists but only as a fleeting spectacle of Nature which within holds the quintessential elements that Kaneta personifies through a female figure. Her paintings are dreamy populated landscapes on a large scale, they are a celebration of nature’s ephemerality as they emphasize the frailty of time, the phenomenon of weather and all the dramatic seasonal transformations that come with it. Employing her very own soft delicate acrylic colour technique, Kaneta is at the same time influenced by Rinpa and Kano Schools in their approach of painting through the eye of Ancient Japanese literature that portrays such scenes of nature.

The abstract paintings of Hyunjung Park show the process of a response to the new visual world we experience in the twenty-first century. The artist, who majored in Fine Art at Hongik University, has a long history of collecting images of minerals, geological formations, and textures. Since the attitude of collecting and consuming images online influences contemporary art, she is continuously asking concerns about the process of creating arts and she is using graphic technologies to construct the overall layer of her works. By using geometric colour schemes and disciplined brushstrokes, Hyunjung Park creates a new painting universe in which individual objects achieve a tight equilibrium through tension. 

Born and raised in Bangkok, Thailand, Chonnapas Yokyai (ฺBorn in 2000) is an artist graduated from the Faculty of Fine Arts, majoring in Painting, Sculpture, and Printmaking at Silpakorn University. Her works are symbolic and transcendental paintings. Fueled by her interest in everyday life from a feminist perspective, her art endeavors to explore the answers with the societal framework she confronts. Through vibrant and surrealistic paintings and subtly veiled figurines, she casts a spell, inviting viewers to interpret and explore through their own personal experiences. Her art portrays a peculiar and twisted scape, inviting people to interpret and explore through their own personal experiences. 

Chonnapas became well-known among collectors from the group exhibition ‘Utopia’ (2024) at River City Bangkok and the group exhibition ‘Perplexa Scenario’ (2024) at Joyman Gallery.


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.

Wasinburee Supanichvoraparch, born in 1971, is a Thai artist based in Ratchaburi known for his innovative approach to ceramics, along with his work in photography, sculpture, and public art. A graduate in Fine Art with a ceramics major from Universitaet Gesamthochschule Kassel in Germany, he combines his expertise in traditional ceramic processes with a fascination for the uncontrollable elements that influence artistic outcomes. This theme of unpredictability, often portrayed with subtle humor and irony, runs throughout his diverse works, which challenge viewers’ perceptions of reality and the surreal. As the owner of Tao Hong Tai Ceramic Factory, Wasinburee’s practice is deeply connected to his family’s ceramic heritage, yet his contemporary approach has helped reshape Thailand’s ceramics scene.

Beyond his individual art, Wasinburee has had a lasting impact on the Thai art community. He founded d Kunst art center and launched Art Normal, Ratchaburi’s first public art event, promoting art accessibility and community engagement. His contributions have earned him prestigious awards, including the Wattanakunathorn Award and the Silpathorn Award for Design. His works are part of esteemed collections worldwide and have been exhibited internationally, including at the Venice Biennale, Singapore Art Museum, and Bangkok Art and Culture Centre. Wasinburee’s commitment to accessible, sustainable art continues to inspire Thailand’s art scene, positioning Ratchaburi as a vital cultural hub.

Yunseob Kim has experimented with a new methodology for creating flat images using diverse mediums, including drawing, painting, and animation. Since he majored in animation at Kongju University and maintained an interest in cartoons, he is allowed to create paintings that deviate from traditional genres like drawing and sculptures. In 2007, he began utilizing self-portraits, hand drawings, and cup drawings in his paintings and videos. He also worked in drawing, text, installation, and video in 2011. In addition, since 2014, the artist has delivered private narratives to the audience in a variety of techniques and subjects, including the “Hell” series, which focuses on digital physical properties experiments and the investigation of moving images. The artist is constructing his own universe by discussing the definition of time, events, visions, beings, and devildom as well as posing problems regarding the identity of modern painting in art history.

The picture frame's glass, which ought to be transparent, and its curved frame—the unsettling undulation of that unfamiliar surface—create a 'gap' in the air. As a result, a 'beside' space is immediately formed between the artwork and me. An opportunity arises for us to be fitted together, much like puzzle pieces. Instinctively, we send a fragment of our 'raw' sensibility through that gap, and are quickly seized by the tickle and urgency of wanting to touch and hold the work, prompting us to boldly step closer and move our bodies around in all directions to appreciate it.

The works of Wonjoo Park placed before us always have the appearance of being tenderly caressed. To achieve this, the artist bends glass at high temperatures in her studio, breaks wooden pieces into fragments only to reassemble them, and handles cast iron. She wishes to downplay and minimize the mention of the hardship involved in the process of wearing down these raw, rough edges. This particular preference, in return, grants Park Wonjoo's work its unique expression. The artwork, solely in order to approach us softly, appears as if much has already been resolved and reconciled, or it embodies the will for such resolution.
- Hayoon Kim

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.


The characters that form the motifs of my work are common images that I have created. They are given a writing order and symbolized, and the process of preservation and change in the repetitive writing is established in the work as several afterimages, like time-lapse photography. Whenever the viewer sees a character that he or she does not remember, the difference between his or her memory and the work is evoked and referenced to the character in his or her memory, and this process reconstructs the work as a painting with intensity. The work also serves as a device to strengthen the connection between the viewer and the character with feelings of "I don't understand" or "What is this?", and as a record of a living person, not only as a work of art, but also as a portrait with an aspect as a recording medium.

Saehyun Paik is New York-based abstract artist. She has several gallery and museum exhibitions. Saehyun is searching for all that the modern human experience lacks. Recently, she has been experimenting and exploring minimalism, through pattern, line, and close color relationships. Difficulty adapting to social situations in her early years caused Saehyun to learn to create dialogues and rapports through art material themselves. She now explores these ‘conversations’ by blending two or more media in each of her processes. Having former her communication style through painting repetition and learning Saehyun continues to explore people without representing them.

NOH Sangho (b. 1986) is a natural born storyteller, sincere practitioner and bold experimenter. Browsing the Internet and social media daily, the artist diligently collects myriad images of the day to day. NOH reconstructs the fragments selected from an array of images onto carbon paper, which is a medium that represents him as an artist. The works, executed on carbon paper, reveal the artist’s unique perspective on the flexibility of the “image” in the digital era, defined by a flood of images that travel and transform freely across platforms. Furthermore, in an attempt to expand the theme of his work to realizing the three-dimensionality of images, the artist introduces a series of works in which 2D planes and 3D moving images are intertwined organically. NOH, who considers the manner in which his works are presented and consumed to be an essential part of his practice, explores various bold and experimental ways of installation, such as largescale wall hangings and drawings on hangers—reminiscent of a clothing store.


NOH Sangho was born in Seoul, Korea, in 1986. He received his BFA in Printmaking at Hongik University in 2013, and MFA in Fine Arts at Seoul National University of Science & Technology in 2022. He has held solo exhibitions at various institutions such as ARARIO GALLERY SEOUL (Seoul, Korea, 2024), ARARIO GALLERY SHANGHAI (Shanghai, China, 2023), ARARIO MUSEUM in SPACE (Seoul, Korea, 2018), SongEun ArtCube (Seoul, Korea, 2017), and SeMA West Warehouse (Seoul, Korea, 2016), as well as group exhibitions held at Ilmin Museum of Art (Seoul, Korea, 2023; 2018), ARARIO GALLERY SEOUL (Seoul, Korea, 2023; 2021; 2016), Isetan The Space (Tokyo, Japan, 2022), ARARIO GALLERY CHEONAN (Cheonan, Korea, 2021), Atelier Hermès (Seoul, Korea, 2020), Daegu Art Museum (Daegu, Korea, 2019), SongEun ArtSpace (Seoul, Korea, 2018), Kumho Museum of Art (Seoul, Korea, 2017), National Museum of Modern and Contemporary Art (Gwacheon, Korea, 2017; 2014), and more. The artist gained attention for being selected in the National Museum of Modern and Contemporary Art's Young Exploration 2014. He was the artist-in-residence at the SeMA Nanji Residency (Seoul, Korea) in 2015, and also participated in an artist residency exchange program between Hungary and Korea (Budapest, Hungary) in 2016. He won the Lee Sang Wook Prize (Korean Contemporary Printmakers Association, Korea) in 2016. His works are collected by institutions such as the National Museum of Modern and Contemporary Art’s Government Art Bank, Koo House Museum, ARARIO MUSEUM, and more.

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.

Art Jeeno or Piyaphach Jeeno (Born in 1987) stands as a revered artist whose influence resonates deeply within the manga community. Following the completion of his undergraduate studies at the Faculty of Fine Arts, Chiang Mai University, he immersed himself entirely in the art of manga. His mastery of intricate line work and distinctive coloring techniques has set him apart, earning him prestigious accolades at the 7th, 8th, and 14th Japan International Manga Awards. These achievements have not only propelled him to prominence but have also unveiled his remarkable talents to a captivated Japanese audience. Furthermore, his manga series, Juice #1, Juice #2, and Juice 3, have been published and distributed in France, affirming his global impact and artistic legacy. 

Art Jeeno’s journey in the art scene began in 2013 with “Now” (2013), a solo exhibition held in Chiang Mai, followed by “Now2” (2017) at Gallery 36 in Bangkok. He has also had the opportunity to exhibit in group exhibitions such as “When Snowflakes Fall” (2022) and “To the moon and (never) back” (2023) at River City Bangkok, which showcased Art Jeeno’s ability to convey the delicate and ephemeral thoughts an emotions of humans through facial expressions and actions, which have become his distinctive artistic signature. His exhibition “A Cold Day in July” (2024) at River City Bangkok marked his first solo show in seven years, representing a pivotal moment in his artistic journey. This exhibition stands as a significant milestone for Art Jeeno, highlighting his growth and unique contribution to the art world and also received a warm welcome from the media and collectors, and all paintings were sold out.


Shaina McCoy works from photographs to paint her family members in thick, expressive brushstrokes. While her source material is deeply personal, McCoy renders her subjects without faces, inviting her viewers to project themselves and their own relatives into her scenes. As she depicts subjects from many stages of life and employs a wide range of skin tones and compositional styles, McCoy thematizes the diversity and complexity of Black families and experience.

Inah Choe’s work, characterized by narrative abstraction, gradually reveals images through layers of tentative painting moments. Her paintings begin with lingering echoes of both experienced and imagined narratives, navigating between figuration and abstraction. The material properties of paint and various painterly elements interact on the canvas, creating an unpredictable state of change.
Inah Choe (b.1990) graduated with a BFA in Fine Arts from the School of the Art Institute of Chicago (SAIC) and received her MFA and PhD in Painting from the Graduate School of Hongik University. She has held several solo exhibitions, including Deep Ground (l’espace71, 2021), Slippery Night (Sangup Gallery, 2020), and Fermi Bubbles (17717, 2017). She has also participated in numerous group exhibitions such as Trees (17717, 2023), Epiphany of the Wind (Space Sieon, 2023), Portrait of Scenery (Bef Storage, 2023), New & Next (Seoul Auction Gangnam Center, 2023), Untitled: Plane, Layer (Gallery JJ, 2023), Transversal Surfaces (Lotte Gallery, 2023), Vibrant Gap_PATCH (One and J Gallery, 2022), and It Doesn’t Matter (Obscura, 2022). Her work has been featured in art fairs such as Art Busan (2023), The Preview Seongsu (2022), and The Preview Hannam (2021). She was selected for the Korea Arts Management Service Preliminary Represented Artist Program (2023) and the Seoul Foundation for Arts and Culture's Agora Cicada’s Sentence project (2018). 

Sung Min Woo is a contemporary artist who explores ecological order and the dignity of existence through marginal life forms, particularly grass. By capturing the tenacious vitality of grass-often overlooked-the artist extends its quiet resilience into narratives of organic interconnectedness that shape our shared lives.
The work moves beyond simple representation of nature, focusing instead on the values and relationships between beings. Using a distinctive technique of gold leaf and traditional pigments on silk, Sung elevates plants grown in harsh environments into sacred presences. The delicate stems and leaves spreading across the luminous golden surface visualize the unseen flow of life, inviting viewers to reflect on a sense of awe toward all existence and the value of coexistence.

I paint beings that seem to carry the presence of loneliness. These are often things or creatures that feel overlooked—lost items, small animals, confined beings, objects tucked away in corners. They’re nothing extraordinary: common things anyone might own or pass by without much notice. But if you look closely, you might catch a glimpse of these quiet presences that exist between the steps of everyday life. They’re often found just off to the side of the path, missing a part of themselves, or left behind without a clear purpose.

Sometimes, in the middle of ordinary life, I feel like I’ve become something “other.” I’ve named this feeling becoming a fake human. It’s a sensation that arises when I’m walking down a street, speaking with someone, or standing among a group of people—moments when I suddenly hesitate to connect, sensing that I’m not quite the same. In those moments, I imagine myself as someone nearly human but slightly off, like a flawed copy—resembling a person, yet missing something essential.

I began drawing fragments of "people" through other beings because I believe the things shaped by humans—or whose lives have been altered through human presence—end up resembling us in subtle ways. Whether consciously created objects or living things unconsciously affected by human behavior, these entities are part of the social world we inhabit. And when they’re no longer just someone’s possession, but exist in their own right, they begin to carry a deeper sense of meaning. Their anonymity—the fact that we don’t know where they came from or where they’re going—gives them a kind of quiet, haunting weight.

In my paintings, these figures often share similar appearances. Like the strangers we pass on the street whose faces we never fully see, they fade from memory even as they surround us. I once saw a nearly new doll abandoned on the sidewalk. On another day, I passed an old man drawing on the street in the freezing winter. These are the kinds of moments I try to gather—brief scenes that make you pause for a second and look. Through my work, I want to depict the quiet, slightly unbalanced figures of ordinary people—people who, for just a moment, come into view.

Sculpture

Bench

Stool 01

Stool 02

Bookshelf

Mirror

Let the Dirges Disappear Into the Deepest Fullness

To What Land Do You Sail

Watering Plants

Auspicious Scenery

Borrowed Scenery-Gwanhaeeum

Sculpture 1

Title 01

Time: repair

Packaged Things 4

Packaged Things 3

Packaged Things 2

Packaged Things 1

Sculpture 2

Growing 1031-1087

Crystal 2016–8

Crystal 2018–3

Brush stroke

Breath

GANGALA

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The Oracle Pill (Pink pill)

The Oracle Pill

The Oracle Pill (Blue pill)

Simulation Field

The Bloom of Consciousness

Playground Error

The Arrival

Eternal recurrence

The Seed and the spine

Laboratory of Birth

The pool of her

Eve’s Algorithm

The Constructed Haven

Puzzle of origin

Oracle of Birth

Genesis protocol

Jump into the Reflection

The infinity code

Portrait of an Artist as a Mother as a Universe as an Egg (After Hildegard von Bingen’s The Universe in the Shape of an Egg)

The Painter

Types of cap Series_Boy in the woods and a Lion

Today's Contemporary Art Series Summer-Autumn 2

Old school - Rodin

Three man in the hat

Dialectical Sculpture and Peacock

Think positively 1

Pilgrim series - Musim river

Old school - Paul Cezanne

Lucifer

Old school - Painter and model

Zombie Portrait-Narcissus

Contemporary art and a lion

The Empathy Box Z

Persiapan Gerilya (After S. Soedjojono)

Gazirah dan Laku Waktu

Study_for_Null_Portrai t of someone#205

What to see in repeated portraits #029

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IPAOC0244

How Can I Not Believe in God?

THE GREAT CHAPBOOK 3 - Mickey

우리는 앞으로 나아가지 못하고, 결국엔 끝없이 현실로 떠밀려간다.

Artists