Alum Lee uses patterns commonly found in the fashion industry, such as dots, stripes, and checks, to move between flatness and illusion, distorting the screen, and revealing flatness through pictorial traces. Through this, she evokes latent data about space, deconstructing and recombining them once again, overlapping layers to produce complex processes of work.

Soon.Easy - BTS's J-Hope owns "SUGAR CANDY MOUNTAIN #10," and the artist is well-known in the Asian region.


Duenchayphoochana Phooprasert is an artist and author who currently teaches for the Visual Arts Program at the Faculty of Humanities and Social Sciences, Valaya Alongkorn University. Duenchayphoochana’s works of art have always involved clay. She utilizes raw materials like wood, clay, water, and sunlight to depict her ideas about the relationship between change in nature and change in human beings. When natural energy causes “movement” in the artwork, it is similar to the work of time and events that create both good and evil “movement” for humans. Her creation, therefore, suggests the universal truth about energy shifting that has affected us all along.

Born in 1997, Warisa (Shinnawat Sa-nguanjuk) graduated from the Faculty of Architecture and Design, majoring in Communication Design, at Rajamangala University of Technology Rattanakosin. He began creating acrylic paintings under the name ‘Warisa’ in 2021.

Warisa first came to prominence in the contemporary art scene after participating in Bangkok Illustration Fair 2024, which led to his invitation to showcase his work in the group exhibition “First Light: The Joy of Discovery in Contemporary Asia” (2024), presented by All About Art Gallery and held at River City Bangkok. Both showcases received widespread acclaim, marking Warisa as one of the new generation artists to watch—known for his distinctive visual language and introspective sensibility. 

His artistic inspiration stems from the idea of the garden in its many forms—a space where emotion, memory, and imagination intertwine. Influenced by cinematic storytelling, Warisa’s paintings transform scenes of nature into poetic narratives filled with atmosphere and quiet contemplation. His works do not merely depict the beauty of nature, but evoke a world of feeling—one that exists delicately between reality and dream. 



‘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.


Rizal Hasan
b.1992, Gresik, Indonesia

Graduated from Indonesia Institute Of The Arts Yogyakarta, Indonesia. He is currently based in Sewon, Bantul, D.I Yogyakarta, Indonesia. Artist selected solo exhibition: “POP Script : Encoding The Everyday” 2021 Indie Art House Yogyakarta; Special Art Project with Jogja Affordable Art at Jogja Art Gallery, 2022; ARTJOG 2022; ARTJAKARTA 2022.

Eunu Lee places more emphasis on the connections between objects than the conceptual meanings that have been assigned to them. Following his graduation from the Korea National University of Arts in Seoul, he has shown various works investigating the relationship between art and design and the form and function of objects. By transforming ordinary things, he explores new relationships and meanings with implications for daily life. His work breaks down the duality of ready-made products through practical ways of constantly arranging, disassembling, and assembling objects, taking the viewer to a realm of new shock in a modern society that places a premium on the mass manufacture and efficiency of objects.

Udomsak(born 1966, Bangkok; lives and works in Chiangmai) Krisanamis’ practice has long been characterised by his specific use of collage, creating obsessive pattern made from newspaper, noodles, cellophane and paint. Over the past two decades Krisanamis’ work has maintained a distinct formal and conceptual clarity, offering a unique experimentation with the well-worn territories of grid.

While his paintings refuse to adhere to any particular context or obvious narrative, his imagery has undergone certain key transitions. Earlier paintings comprise of densely layered textured grids that resemble stellar landscapes, satellite imagery, twinkling cityscapes and blinking digital universe. Viewed in detail, these works shift between the worldly and otherworldly, the sublime and everyday. More recently, this intricate detail has been replaced by bold, reductive statements of monochrome colours such as hazard orange and fluorescent yellow, the surface of which is built up from wedges of found material embedded between layers of acrylic paint and paper.

Selected recent solo exhibitions include Gavin Brown’s Enterprise, New York (2007, 2012); Kunstverein Freiburg, Germany (2011); VER Gallery, Bangkok, Thailand (2006, 2016); Gallery Side 2, Tokyo, Japan (2005); Giti Nourbakhsch Gallery, Berlin (2004); Kunsthalle Basel, Basel (2003); Wexner Centre for the Arts, Columbus (2000) and Fruitmarket Gallery, Edinburgh (1999). His work has also been included in several group exhibitions at venues such as the Bangkok Art And Culture Center (2012, 2014); CCA Andratx, Mallorca, Spain (2011); Kestnergesellschaft, Hanover (2008); Kunstmuseum Wolfsburg (2003); Walker Art Center, Minneapolis (2001) and Whitechapel Art Gallery (1999).

Drawing the organic form of plants in nature with a detailed sense.

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.


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.

The landscapes of Kwon So-young (b. 1986) carry traces of time and the lingering resonance of memory. She explores the subtle sensibilities that arise between one presence and another, and the quiet tremors that exist beyond visible form. Within the interactions of ink, water, and hanji, intention meets chance to create layered depth, capturing the breath of what remains even within what has disappeared. Her landscapes portray nature as both a site of memory and a record of emotion, where stillness is not a frozen moment but the movement of time that flows and leaves its mark.

Jonathan Hadipranata
b.1995, Surabaya, Indonesia
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As a visual artist, Jonathan Hadipranata's work is inspired by anime cartoons from his childhood. However, his work has a rather weighty concept behind it, and his child-like characters are portrayed with their mouths taped against dark and light backgrounds. These paintings are driven by his emotions and love for storytelling, symbolizing his experience and view of society in which we are often unable to speak up or be our true selves.
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In 2014, he went to the Academy of Art University in San Francisco, pursuing a Bachelor of Fine Arts in Visual Development degree. After almost two years of honing his foundational skills in the school, he has returned to Indonesia.
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Hadipranata held his first-ever solo exhibition “Hide Under the Table” in Tokyo in 2021, the show subsequently launched his career as an artist and has shown his works in other parts of the world, including the latest ones: “Rythm and Repetition Vol. 2”, Aught, (USA, 2024); “Rythm and Repetition”, Medel Gallery Shu, (Japan, 2023); “Among The Crowd”, Medel Gallery Shu, (Japan, 2022); “Proxemics”, The Waluso Gallery, (UK, 2022); and “Inmates”, Aught, (South Korea, 2021).

I've always had an interest in inventing my own devices and to use them in installations, creating the overall atmosphere of the space which based on reinterpretation of surroundings. These things are specifically revealed through experiments where I attempt to induce experience that stimulate and renew the sense and movement of the body, the emotion or psychological state that are a recreation of ambiguous topic; which all occur by being confronted with the overall effect of the arrangement of sight, tactile sensation, hearing, or materials that can be felt specifically and touched.

Especially, the psychological suspense left from the experience of personal and mixed situations and gestures from unfamiliar environment are relieved by leaving traces of such suspense through the object made from neutral pieces of materials.

These mediators borrow their form from familiar objects such as images derived from nature itself, but they become ambiguous through slight distortion. At the same time, they become my storytelling tools equipped with my intentions, and the essence can be found as I contemplate the duality of the image that is seen among the exploration of defining the subtle differences between reality and imagination.

In recent years I have been fascinated with embroidery since it represents such a precise accumulation of time and effort. I have studied Korean embroidery skills to depict the surrealism of the subject matter – those uncanny images derived from nature itself.
As my primary discipline has been that of the sculptor, the study of material and materiality has always been a fascination. Rediscovering the use of traditional skills and sharing their primordial characteristics, are often the basis of my work.

When I look at the primitive samplers of old or even the ancient medieval embroideries, I feel an absolute identification with the person who worked the piece. My imagination wanders through their state of mind and their circumstances – their desires, their passions and fears. As I produce my own works I like to think they might trigger the same sense of inquiry inspiring a new audience with wonder and intrigue.

Ever since I discovered saturated music (Franck Bedrossian, Raphael Cendo) ten years ago at the Versailles Conservatoire, the theme of Excess has become central both to my work as an ar=st and in my personal musings. While challenging the ra=onale of our ultra- modern socie=es and their economic and societal models, my pain=ngs, in a combina=on realism and abstrac=on, explore this concept of excess, in par=cular through the philosophy of Georges Bataille, literature (Pierre Guyotat, Kathy Acker, Hermann Ungar and many others) and contemporary films.
The despicable, the sublime, ero=cism and death are all spheres in which excess comes into play, and I try to connect them in elaborate composi=ons that draw as much on tradi=onal pictorial techniques as on more contemporary aesthe=cs.
I believe that Pain=ng, and Art in general, are at their origins, the expression of an Impossible that derives as much from vacuity as from surpassing limits.

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.

Fanko dreams of communicating with the world through creative activities based on her daily life. Life goes by and many things happen. Through paintings, she wants to remember the ordinary emotions that we miss or almost forget as time passes by. She said, “The character in the painting is myself, the artist, and at the same time symbolize the people around me. Sometimes I feel like I'm talking to them, and sometimes I feel like I'm listening to their story. I am fascinated by the shift of identity as this.”
The main character in the painting sometimes is an adult and sometimes a child. This emotion is what she feels about herself, and it is constantly being switched and overturned in her mind. The transition of a moment is the essence of her existence and identity. She is growing as a human being and an artist by depicting the ordinary emotions felt in everyday situations that combine self and others, the complex and the simple, the realistic and the imaginary. The story is told in a comfortable and natural way through the familiar style of the main character in the painting. Recently, she has been expanding her medium to include acrylic paint, oil pastel, pencil, photography, animation, and ceramics.

Tos Suntos
b.1992, Bangkok, Thailand

Tos Suntos (Panyawat Phitaksawan) is a Thai Artist and Designer known for his outstanding graphic design which can apply to 2D and 3D objects in unconventional style. For his professional artist, his outstanding work is he changes the visual of traditional Thai to a combination of Thai style, universal monsters. pop culture and modern art.

Since the 2014s, TOS SUNTOS has been an illustrator who created his work from surrounding culture, human lifestyle and memory of childhood. When he was young, he was interested in Sci-fi movies and monsters. Therefore, he brings all of his experience combined with pop culture and retro style to his original art works. Tos Suntos first gained international attention when he was commissioned to Adidas Headquarter as representative from Thailand.
 
Tos Suntos has embedded Thai Identity in his delightful works in the biggest Adidas shop in the center of Bangkok Thailand. His talents are expressed in painting, digital paint, graphic design, collage art and sculpture; which are full of delicate patterns, super detail and layers of art.

Be Takerng Pattanopas
(b. 1965, Thailand)

Be Takerng Pattanopas ’s practice emerges from twin obsessions with space within and space without. His exploration of the human body’s interior, through drawings, installations, paintings, and sculptures, symbolises the infinity of the cosmos. This might be a distinctly 21st-century preoccupation – the zeitgeist of this age as our world seems both smaller and bigger than ever.

The artist has suffered complex health issues with benign tumours in adrenal and pituitary glands. This is addressed through hybrid forms that play with symbolizations of voids, microscopic invasions of the body, and also tunnels and monoliths. The latter motif was inspired by Stanley Kubrick’s famed film 2001: A Space Odyssey, based on the sci-fi novel by Arthur C. Clarke. All the elements are precisely orchestrated by the artist so that the viewer’s experience is strangely ambiguous, or meanings appear perpetually in flux as they contemplate expansive metaphors of self.

Pattanopa’s completed a Ph.D. (Fine Art) at Cheltenham & Gloucester CHE in the UK. Solo exhibitions include Space of 25 Light Years (JWD Art Space, Bangkok, 2021); The Nerve That Eats Itself (Gallery VER, Bangkok, 2018); What I Don’t Know That I Know (H Gallery, Bangkok, 2013); Compulsive Orders (Tally Beck Contemporary, New York City, 2011); and Permanent Flux (GMT+7, Brussels, 2009). Commissions and group exhibitions include GAP the Mind (2012), i Light Marina Bay (Singapore); and SPECTROSYNTHESIS II– Exposure of Tolerance (Bangkok Art and Culture Centre, 2019-2020). He is the Director of the Communication Design Programme (CommDe) at Chulalongkorn University in Bangkok.

Ginghamchck pattern

Dot pattern

Romantic white grave

Human and Waves

SUGAR CANDY MOUNTAIN #11

Move 2022 No.1

Signature of  the natural  No.13/2023

Signature of the natural No.14/2023

signature of the natural No.9/2023

Signature of the natural No.12/2023

Signature of the natural No.25/2023

Signature of the natural No.17/2023

Signature of the natural No.27/2023

Signature of the natural No.7/2023

Signature of the natural No.8/2023

Move 2021 No.5

Move 2022 No.2

Move 2022 No.3

Move 2022 No.4

Butterflies Delivered!

Good Kitty! Bring It Here, Hehe!

Listen for My Signal!

Hey, Doggy, Put Some Effort into It!

You’re Here at My Place So Early

Could You Shape It Up a Little?

Who’s your puppy talking to?

What scared you, kitty?

Hurry! He’s got something in his hand!

You can do it, horsie!

Yang-na Tree Coming Down!

Grandpa, Do You Want Some Yarn?

This is My Very Own Telescope!

I like Christmas Because Even the Trees Get Presents

Is Anyone Coming Yet?

Come Quick, Doggy! You’ve Got a New Friend!

Come On, Follow the Flowers!

So Much Trouble… but Yeah, Cute

I’m Pretty Good at Breathing In and Out

Halloween? I’m Managing

Your Music and My Ambient Sounds

Hey, Hey! Draw Me Too!

The Koi Flag Is Flying Now!

Disconnect

Persistence

February 16th

October 31st

June 23rd

January 24th

July 14th

September 2nd

February 13th

January 13th

January 18th

January 19th

January 11th

February 6th

February 28th

March 16th

June 30th

November 1st

November 7th

November 9th

Warming up

February 9th

February 3rd

January 31st

August 4th

July 26th

February 10th

February 1st

February 2nd

October 12th

October 24th

September 7th

September 8th

January 26th

January 30th

Mind Drifting

Untitled

Friday

Deep Sleep

밤의 틈

슬픔의 가장자리

자장자장 / 마음과 마음들

그렇게 우리는 또

밤의 변주

슬픔에 밝은 사람들의 지극한 밤

서성이던 숨

우리는 여기서 반짝

모로 누운 밤

We Spark Here

안녕의 조각들

BS 41048

BS 3535

Bench

Sculpture

Mirror

Bookshelf

Stool 02

Stool 01

Entangled  Flow

Fading Light

Abyssal Emanation

Breath Between

Frosted Starlight

Falling Snow, Flowing Snow

Secret Forest

The Inner Universe and the Outer Universe

They All Wanted To Be A King

They All Wanted To Be A QueenThey All Wanted To Be A Queen

Alice’s Adventure in wonderland P71, 74

Emily Dickinson's flower

Alice’s Adventure in wonderland P53, 56, 57

AdagieVo

Contrapunctus XIV (tribute to Georges Bataille’ series)

Crystal 2018–3

Crystal 2016–8

Growing 1031-1087

A Dream That Comes With Freedom

Featured Artists on Artue