Studio Lenca (José Campos) fled his native El Salvador during the violent civil war in the 1980s. The war claimed the lives of over 80,000 Salvadoreños and displaced much of the population. José travelled to the US by land with his mother and grew up as an undocumented illegal immigrant.

Eventually settling in the UK, José received a Masters from Goldsmiths University of London in 2019. His work is collected and exhibited globally and was recently acquired by the MER Foundation.

His work is focuses on ideas surrounding difference, knowledge and visibility. José Campos works under the name of ‘Studio Lenca’ as the language of ‘studio’ refers to a space for experimentation and a place that is constantly shifting. Lenca refers to the ancestors of his native El Salvador.

His colourful paintings depict Salvadoran figures adorned with costume and ornament that playfully explore masculinity, the colonial past of the country and its current violent discourse. The hats and costumes allude to the folkloric traditions of Los Historiantes. MS-13 markings and 18th street tattoos are absent, instead whimsical imagery and bold colours portray a softer more vulnerable experience.

The figures in Studio Lenca’s work embody vignettes of the artist’s formative years, escaping the civil war and reckoning with his reality in a hostile environment.
The navigation of identity within Studio Lenca’s work sits in parallel with that of El Salvador and it’s neighbouring countries. Riotous layers of paint, flora, fauna, logos and artefacts represent untold stories and silenced voices. The painful legacy of colonialism, mass immigration and more recent cultural imperialism is writ large. Studio Lenca shares a maelstrom of unresolved narratives; himself and his culture displaced.

Joan Miro was a Catalan artist born in Barcelona in 1893. A painter, sculptor, engraver, and ceramist, Joan Miro was one of the main representatives of the Surrealist movement, marked by the exuberant character of his native province. In the beginning, he showed strong Fauvist, Cubist, and Expressionist influences before evolving towards a flat painting marked by a certain naivety and then sliding towards a more dreamlike work in a Surrealist spirit. From 1923 onwards, he created a style free of cubism in which a fantastic universe populated by strange symbols and geometric forms was born from his imagination. Miro tends towards an original combination of sometimes disturbing and sometimes joyful elements that plunge into the unconscious, the imagination, and poetry. His world is often magical and strange. Over time, his paintings become more abstract and the forms more organic, even though a theme is always recognizable.

Im Jaehyoung collects images of personal and social loss and explores them in various ways, linking the concept of 'disappearance' with the act of painting. Through his paintings, he creates a unique visual distance, addressing the psychological and ethical distances associated with absence.

Tae Woo reinterprets traditional Korean landscape painting through a contemporary sensibility, grounding his practice in wayu (臥遊)—“traveling while lying down”—to paint landscapes of memory and imagination rather than literal scenery.

His recurring motif, Gasuho (家守虎)—a “home-guarding tiger”—carries a Korean folk-painting (minhwa) spirit, echoing the folk-inflected tiger imagery recently popularized in Netflix’s animated film KPop Demon Hunters. Birds and children symbolize family and intimacy, reflecting on ways of living and the warmth of relationships.

He gained public recognition after winning KBS2’s No Money No Art (2022), presented HOHO Garden at Gana Art Park Museum (2025), and has released NFT drops via Upbit.

Praiva Raiva is a contemporary artist renowned for his evocative and thought-provoking works that explore themes of identity, emotion, and social challenges. His art masterfully blends traditional techniques with modern aesthetics, creating captivating pieces that resonate deeply with audiences worldwide. Drawing inspiration from personal experiences and diverse cultures, Praiva’s work invites viewers to delve into intricate narratives and self-reflection. His exhibitions have garnered critical acclaim, establishing him as a significant and influential figure in the contemporary art world.

Michael Sailstorfer’s site-specific interventions emphasize transformation and challenge conventional rubrics of sculpture. He gives objects new meanings and functions by reconfiguring, though not deconstructing, them. Much of Sailstorfer’s work involves breaking down an object to reveal its physical components, as in the case of Zeit ist keine Autobahn (Time is not a motorway) (2005). The work features a spinning, motor-powered tire pressed against a wall; as the tire wears down, rubber particles collect on the floor and the scent of burning rubber fills the installation space. Sailstorfer cites the site-specific, performative work of Gordon Matta-Clark as a key influence, and says he is “interested in what sculpture can be and how a sculpture can spread out and use much more space than it physically has.”

Julian Opie's practice delves into the idea of representation and the means by which images are perceived and understood through reinterpreting the language of everyday life. With a reductive style, the artist draws influence from classical portraiture, Egyptian hieroglyphs, Japanese woodblock prints, public signage, information boards and traffic signs.

Jan Kaláb (b. 1978, Prague, Czech Republic) is a contemporary Czech artist whose practice spans painting, sculpture, and public art. Drawing on his background in architecture, sculpture, and fine arts, he creates vibrant abstract compositions that explore geometry, color, movement, and spatial perception. His work has been exhibited internationally in Europe, Asia, North America, and South America through solo and group exhibitions at galleries, museums, and art institutions.

Halo mainly draws using a pencil. Characters reminiscent of clouds and smoke, faces, flowers, objects, and landscapes are connected to each other with soft lines. The combination of delicate pencil drawings and simple characters is exquisite and natural. He tries to face the moment when his attention is taken by small things that can be easily overlooked in everyday life and also when he encounters a trivial but impressive incident. He imagines that things that have passed, things that have been lost, things that are no longer visible are out there somewhere, and he remembers them 
in a very personal and small way.

Kang Se kyung explores the passage of time and the emotions that quietly accumulate throughout life. In his paintings, the recurring image of an old automobile serves as a symbolic self-portrait while also reflecting the shared human experience. The rust, scratches, and worn surfaces are not signs of decay, but traces of lived time—honest records of memories, resilience, and emotional growth.

Arin Rungjang is known for deftly revisiting historical material, overlapping major and minor narratives across multiple times, places, and languages.

Hijo Nam is a Korean-born contemporary artist based in New York, with a BFA and MFA from Pratt Institute.
Her work spans painting, installation, and textiles, exploring themes of existence, cycles, and motherhood.
In her recent exhibition Threads of Origin, she visualized the flow of memory, myth, and healing.

Lee Soon-joo (b. 1959) was born in Seoul and is currently based in South Korea.

She graduated from Hongik University in Seoul and the Städelschule in Frankfurt, Germany. She has held solo exhibitions at various notable venues, including Gallery IN HQ (2026), ONE AND J. Gallery (2023), Obscura (2019), Space IKKI (2018), Seongbuk Museum of Art (2016), and Project Space Sarubia (2004).

Additionally, she has participated in numerous group exhibitions at major institutions and art spaces both at home and abroad, including ONE AND J. Gallery (2024, 2023, 2021), Seongbuk Museum of Art (2017), Total Museum of Contemporary Art (2015), Gyeonggi Museum of Modern Art (2009), Arko Art Center (2006), Seoul Museum of Art (2005, 2004), and the Gwangju Biennale (2000).

Lee has also been an artist-in-residence at the National Museum of Modern and Contemporary Art (MMCA) Goyang Residency (2005–2006), Ssamzie Space (2001), and Art Omi in New York (1999). To this day, she continues to develop her own unique visual language, focusing primarily on painting and drawing.

Born in 1992, Jieun Choi majored Korean painting at Dongguk University and continued her studies at the National University of Arts in Karlsruhe. Currently, she is pursuing her artistic career in Germany. At the heart of her artistic expression is the creation of abstract images, skillfully capturing the transient and ephemeral qualities of the moment.

Choi seamlessly integrates the soft curves of her subjects with abstract backgrounds, crafting a unique visual narrative that places her characters within a distinctive and captivating realm. Through this, she delves into the intricate and nuanced aspects inherent in the linguistic and subtle nature of the human body. The artist pursues mysterious, intuitive, and sensorial expressions, skillfully capturing the inner narratives and psychological realms of her characters through the intricacies of their gaze and tension.

The artist's creative process navigates the delicate balance between abstraction and concreteness, cycling through phases of creation and destruction. She sculpts her narratives with unexpected forms and situations, elevating the tension and mystery of the characters through moments of anticipation and unwavering pursuit.

Choi endeavors to immerse viewers in an experience of intuition and empathy by infusing her characters' gestures and gazes with profound meaning. In doing so, she cherishes the exploration of boundaries between the unconscious and conscious realms, forging innovative narrative structures. Through this distinctive approach, Choi actively seeks profound engagement with the audience, persistently delving into the dynamic exchange of meaning and emotions within the realm of art.

Like a pop star, Artist Noemie Bablet intentionally pushes the boundaries between industry and art. Much like our society’s positive bias, Bablet’s work impresses far beyond its initial impression of charm and effortlessness, demonstrating impressive delicacy and meticulousness to convey a sense of beauty and elegance.

Born in 1980 in Bangkok, ubatsat (pseudonym) earns a bachelor degree in Visual Arts and a master degree in Philosophy and Religion from Chiang Mai university. 

ubatsat is an artist and social activist. As a research-based artist, ubatsat creates artwork that narrates situations where people are under pressure or in crisis.  His art practice includes collaboration with communities such as farmers, craftsmen, musicians, cooks, and specialists in particular field. Through his art, he creates a platform or an artistic situation that enables collaboration with different stakeholders.  ubatsat’s multidisciplinary art includes painting, sculpture, printing and site-specific work. 

Born in 1972 in Bangkok, Thailand, Pakpoom Silaphan is a contemporary artist whose work delves into themes of globalization, mass consumerism, and the pervasive influence of cultural icons. His practice often employs found objects, such as vintage metal advertising signs and wooden Pepsi and Coca-Cola crates, collected during his time in Thailand. These objects serve as his canvas, offering a fresh reinterpretation of Pop Art reminiscent of Warhol's *Brillo Box* installations. Silaphan's work reflects on the impact of advertising and mass consumption, weaving a narrative about the infiltration of Western imagery and ideology into his artistic journey.  

Using icons such as Warhol, Dalí, and Frida Kahlo, Silaphan collages and paints over these branded surfaces, suggesting the transformation of these artists into global brands themselves. His art bridges the cultural divide between East and West, exploring the universal language of symbols and their collective imprint on human consciousness.  

Silaphan earned a Bachelor of Fine Arts from Silpakorn University in Bangkok before moving to England in 2002 to study printmaking at Camberwell College of Arts and complete a Master’s in Fine Art at Chelsea College of Arts. His work is featured in prestigious collections, including the Hiscox Collection and Sir Paul Smith’s private collection. In 2004, he was shortlisted for the John Moores Painting Prize at the Walker Art Gallery in Liverpool.  

Silaphan's art has garnered attention in significant publications such as *For Which It Stands: Americana in Contemporary Art* by Carla Sakamoto (2012) and has been featured in *The Financial Times*, *The Independent*, and *Elle* magazine. His work has been described as “a sign of the times” and hailed as reflective of “the Pop artist of these times.”  

Exhibiting internationally in London, Japan, Hong Kong, New York, Singapore, and India, Silaphan continues to make his mark on the global art scene. In May 2013, he was commissioned by the Siam Center in Bangkok for a public art installation, further cementing his influence in both local and international spheres.

Artist JaeBum Joo is a leading figure in the realm of pixel art in South Korea, garnering international acclaim for his distinctive vision. He has collaborated with an array of prestigious global brands, including Google, Starbucks, Nexon, Gentle Monster, Adobe, Uniqlo, Hypebeast, and entertainment giants such as SM, YG, and JYP. Through these partnerships, he has firmly established himself as a singular force in the world of illustration, all while pursuing his personal artistic endeavours with unwavering curiosity and innovation.

His work is deeply rooted in personal experience and perception. Having discovered his artistic identity through the 8-bit graphics of the cartoons and animations he grew up with, he has seamlessly woven nostalgia with contemporary technology to cultivate a style uniquely his own. For him, pixels are not merely a nod to retro aesthetics; they serve as a bridge between digital interfaces—such as animation and gaming—and the language of traditional painting, unlocking new dimensions of expression. In his hands, pixels transcend their conventional role as the smallest unit of a screen, becoming colour, form, and a sensory experience in their own right.

"Free and fun. Sometimes a bit aggressive."
Most of the work is based on the motif of a colourful, pretty girl desperately trying to appeal for something. The world is presented in a simple and realistic way, using appropriation techniques.

Inae Shin paints the subtle tension that arises between figures sharing the same space—the flow of gazes exchanged just before anything happens. With faces often turned away or partly hidden, she conveys each figure's sensitivity through posture, gesture, and the direction of a glance, inviting viewers to read the scene through their own eyes. Currently based in Hamburg, Shin has recently turned her attention to invisible forces like wind, depicting figures, animals, and landscapes swaying together within a single flow.

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.

The artist records vanished neighborhoods and landscapes, translating memory and loss into painting. The city is reimagined not as a real place, but as a layered, emotional space shaped by time and perception. What remains is a self-portrait, constructed through the memory of a city that no longer exists.

Jihye, born in Seoul in 1993, is an artist who uses photography, videography, and writing to capture the essence of everyday life. Her fascination with her surroundings began at a young age when her father gifted her a camera. Her passion for recording the beauty of mundane moments has only grown stronger over time. Jihye's art is a reflection of her belief in the power of capturing and preserving moments that are often overlooked. Through her lens, she finds joy in revealing the beauty of the everyday world, from the landscapes that she encounters to the people she meets. Her work serves as a reminder that it's often the small, seemingly insignificant details that make life worth living. Jihye's art is deeply personal, yet it speaks to universal truths that connect us all. Through her art, she hopes to inspire others to appreciate the beauty of everyday life and to find joy in the moments that might otherwise be forgotten.

Artists