Imhathai Suwatthanasilp is an internationally known artist, in particular for her use of human hair as the main material to create her artworks. She relates hair to the human experience through works that are tactile and emotive, posing existential questions to the audience. As such, Imhathai’s works explore notions of gender equality, life, death, violence, morality, and spiritual and beliefs systems especially in relation to Thai society. Responding to ongoing social concerns, Imhathai’s recent works expand to environmental issues that emphasise our individual participation and responsibility towards how we care for the nature surrounding us. 

Soo Kyoung LEE (b. 1969, S. Korea) lives in Paris and works in Paris, Brussels and Seoul. She is represented by Galerie Oniris in Rennes, MM Gallery in Brussels (Belgium) and Accompany in Busan (South Korea).

Soo Kyoung LEE creates her work by accumulating, visualizing, and erasing various actions through momentary intuition and constant observation. When several layers are stacked as the finished work is erased and overlapped again, the background color and shape may turn into the main character or new shapes may be created on it again. In a plane, these layers produce infinite depth, repetitive time, and rhythm.

Renowned for his use of exaggerated anatomical forms and a vibrant spectrum of colors, Lee Hongmin builds his practice upon the narrative of his own life, drawing inspiration from the animations and comics embedded in his memory. Growing up in a somewhat authoritarian environment, the artist found in animation a realm of fantasy—one that playfully subverted the taboos of reality. Through the language of comics, Lee sought to break free from the pressures of Korea’s standardized education system and the constraints of traditional culture, challenging the authority around him and envisioning an imagined world unbound by social prohibitions.

Lee’s practice centers on the emotion of anger, exploring its primal force and the questions that emerge in its aftermath. Paradoxically, his works radiate a strange purity amid their explosive energy—a quality born from his profound contemplation of rage and the sincerity of his expression. Since his debut solo exhibition in 2015, Lee Hongmin has continued to present raw, unfiltered manifestations of anger to the public through dynamic solo shows at Gallery Stan and, most notably, his 2020 debut at Christie’s.

Lee Sanoh (b. 1996) moves fluidly between Eastern painting and ceramics, pursuing a practice unconfined by fixed forms and free to unfold its own narrative. Stories that began with earlier works — rooted in the experience of losing her grandmother and a sustained attention to fragile, neglected subjects — expanded into a spiritual dimension upon encountering the symbolic image of the bird.

Lee Sanoh's practice originates from the moment of witnessing the death of a beloved. During a period when her artistic sensitivity to life and death was deepening, the artist began writing poetry as a way of reckoning with presence and absence. These self-written poems, set down in pencil, naturally extended into drawn works, and she found herself drawn into the sensation of pencil on paper — the way it rose like dry, crumbling smoke. Through material explorations of pencil and colored pencil, and across themes of life and death, flight and fall, what remained at the end of these life-cycle meditations was the bird as messenger. It is both an emissary connecting this world and the next, and a mediating presence that brings inspiration to the artist. The spiritual and mythological resonance of the bird, the aesthetic of symmetry visible in its structural form, and the texture and shape latent in the grain of its wings all evoke the balance that humans endlessly pursue, and the sensation of life's soaring and falling.

In ≪Fading, Rising≫, Lee Sanoh introduces verdigris — obtained by oxidizing copper — as a primary pigment. Copper is a biometal that quietly performs its role within the metabolism of living organisms, including humans, while simultaneously being a material that rusts over time. When pure red copper reacts with oxygen in the air and the surface turns a reddish-brown, the artist introduces an oxidizing agent to further corrode the copper, producing the blue-green hue of verdigris. Through repeated cycles of oxidation and corrosion — sanding the surface down and building up layers again — paintings in the traditional hwajodo (flower-and-bird) genre emerge: hills and trees suggestive of burial mounds, orioles and pasque flowers encountered by chance at her grandmother's cemetery. The verdigris spreading across the surface in blue-green — the actual elemental constituents of living things translated into the visual art of painting — functions as a medium through which creation and dissolution are made visible. Just as copper rusts and acquires new color, Lee Sano regards death not as an ending but as one stage within a cycle, imagining a world in which all that has disappeared continues to live on in other forms.

Peachful, an artist and storyteller whose delicate linework evokes the warmth of childhood fairytales and offers a gentle embrace to every feeling you’ve ever ticked away.

The series, which began in 2024, is the result of a condensation of artistic interests that the artist has been exploring for a long time. Building a deep understanding of art and space through more than 30 years of work on cathedral architecture and sacred art, the color experience of stained glass in particular became an important basis for forming the artist's own painting world.

In this series, the artist unravels the mysteries of love and life, space and existence in a unique formative language. The work talks about the beauty of life, expressing gratitude and wonder for small moments in everyday life and precious beings around us in various colors.

Marcel Duchamp made irreverent, wildly inventive art that blazed new trails for the 20th-century avant-garde. He briefly worked in a Cubist mode and helped spur movements including Dada and Conceptualism. Though his practice spanned drawing, painting, and installation, Duchamp is perhaps most famous for his “readymade” sculptures: pieces composed of prefabricated objects such as a urinal, a shovel, or a bicycle wheel affixed to a wooden stool, which the artist situated in the middle of the exhibition space. Duchamp saw the readymade as an opportunity to free art from traditional confines of taste and beauty. He studied at Académie Julian before becoming involved in the avant-garde circles of New York and Paris. Duchamp also played tournament chess and, in the last decades of his life, worked in secret on a final installation, Étant donnés (1946–66). His pieces have sold for up to eight figures on the secondary market and belong in the collections of countless institutions, including the Museum of Modern Art, the Tate, the Staatliches Museum Schwerin, the Guggenheim Museum, and the Metropolitan Museum of Art.

Ndayé Kouagou (1992) is an artist and performer based in Paris; his practice begins with text, which is expanded upon through performance, film, textiles, sculpture and installation. Kouagou manipulates the reduced language of aphorism and aesthetics on which the digital landscape of TikTok and Instagram is built, creating immersive environments that both confront and seduce the viewer. Using screens, plexiglass, resin and aluminium, Kouagou presents the viewer with elliptical statements and open-ended, existentially leading questions, simulating a meandering dialogue that borrows from the language of online influencers and self-help. Surface and depth, humour and sincerity, clarity and confusion are granted equivalent significance in Kouagou’s work as he playfully explores the forms and effects of mediated communication.

POSE began painting graffiti in 1992 and in years since has expanded his vigorous career to include murals, commercial collaborations and exhibitions around the globe. He earned his BFA from the Kansas City Art Institute in 2004, and then turned his own graffiti education into a body of work blending a wealth of pop culture’s ready-made visual languages. Street signage, comics, newspapers and advertisements are reimagined through dissection, digitization and reconstitution, collectively immortalizing post-industrial moments for the digital age. POSE was named “One to Watch” by CNN in 2015, and has exhibited in the Museum of Contemporary Art Los Angeles, Museum of Contemporary Art Denver, Powerlong Museum Shanghai, Museum of Contemporary Art Chengdu, and Chosun Ilbo Museum of Art, Seoul, among others. His work is enjoyed in numerous private collections worldwide.


Michal Korman (b. 1987) began his art education at the age of five when the Slovak academic painter Jozef Jelenak (working in the tradition of expressionism) admitted him to his courses for children at the school of art in Korman’s hometown, Partizanske. These classes formed his artistic
foundations over a period of three years.In 2005, Korman manifested his specific style: a combination of graphic like oil painting branded with his signature as a logotype.


Living and working in Bangkok, Thailand.
Butsapasilaexplores the process of creating collective memories through informal
storytelling across diverse contexts. This includes forms such as folk legends, historical fiction, mystical beliefs passed down orally, as well as conspiracy theories circulating on blogs, alongside personal memories from his own youth.
Much of his work delves into the historical memory of the Thai state, with a particular focus
on the northern region. His research examines the transformative period between the colonial era and the Cold War, a time when perceptions of space were shifting, laying the foundation for contemporary and future worldviews.

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.

Sejin Kim focuses on subtle sensations that arise in the body before they are clearly defined by language. Rather than emotions that have already been interpreted and organized, the artist is drawn to raw states that exist prior to such articulation.

Tracing sensations that pass by fleetingly or disappear before they can be fully grasped, these elusive states are translated onto the surface. Rather than conveying a fixed meaning, the work is closer to recording how a particular sensation once existed.

Such intangible sensations ultimately reside in the human body. Kim sees the form of the body as revealing human existence more directly than language, and attends to the traces of sensation that remain within it. Drawn to this honesty of the body, the artist adopts the human figure as a central motif.

Nick Mauss develops a multidisciplinary practice at the interstices in between established histories of the arts. In his works, he uses drawing to navigate between medium and spaces, overcoming categorizations, where the line expands different formats such as reverse glass painting, ceramic, textile, paper, sculpture, performance, and writing.
His work probes into contemporary art productions, through exhibitions that he conceives, using the medium as integral part of his practice. Nick Mauss sheds light on forgotten historical archives connecting different histories and artistic genres. Thus, he offers a new genealogy to the works and reassesses the artist’s positioning and modes of representation.

In a space in between composition and abstraction, April Yang continues to use painting as a common language that includes individual appreciation. She obtained her MFA in Painting at the Royal College of Art after studying Painting at the Korea National University of Arts, and she has exhibited her work both in the UK and in Korea. Her interest in life derives from her diasporic background, having lived in several locations, and been exposed to other cultures since she was a young child. She also looks for ways to communicate across linguistic and cultural barriers. She enjoys in illustrating the spirit of mankind and environment in a range of materials and scales, whether it be in a vibrant portrait or an abstraction with a focus on color and line. Her work is intuitive and sensitive, and she hopes to appreciate it with reflection and contemplation to purify visitors’ minds and consciousness and find peace and optimism.

Tewaporn Maikongkeow. is the artist who hove always created magnificent orts. He 
graduoted bachelor's degree from Bangkok university and his master degree from painting. 
the faculty of painting. sculpture and graphic arts. Silpakorn University. He has exhibited 
many solo and participated group exhibitions continuously in both domestic and 
international stages such as Art Busan 2024. Art Expo Maloysia 2019. Art Fair Philippines 
2020 and Art Central Hongkong in 2019

YeonJae Chung(b. 1992) explores contrast as the central concept of her practice. As both a painter and a graphic designer, and having spent her childhood moving between the United States and South Korea, she developed a sensibility shaped by differing cultures and languages. She focuses on the tension and balance created by opposing elements such as horizontal and vertical, light and shadow, clarity and blur. Contrast functions in her work as both a visual device that evokes emotion and a framework through which objects are perceived and judged. Observing the points where logical and illogical elements intersect, she reconstructs everyday phenomena into abstract forms. By examining the gaps and relationships that arise from the combination of disparate elements, her practice expands across painting, objects, and furniture.

Seo Yewon reconstructs invisible sound into a visual order. Arranging objects on hanji as if notating them in a score, the artist builds an auditory structure within painting. Sonic images—such as musical instruments, explosions, and elements of nature—take form as ordered visual elements through precise depiction and restrained composition, capturing and fixing the moment when intangible sound becomes visible within the image.

Todam assembles fragments of memory to sculpt new afterimages. By presenting familiar subjects in their distorted, recollected forms, he renders the recognizable strange. His works hovering between warmth and unease add a subtle charge to each viewer's personal memories, opening space to reimagine the subjects that live within them. What appears at first glance to be roughly made is, in fact, the product of meticulous sketching and dozens of simulations. These deliberately planned imperfections carry a force strong enough to displace the clear, universally recognized image of the original.

Muhammad Jabbar Dipanegara was born in Bandung, 1986. In 2012 he completed the Master of Visual Art program at FSRD Bandung Institute of Technology. Apart from being an artist, Jabar is also active in teaching as a lecturer at a private university in Bandung. 

﻿I begin my work by examining the surface of worn coins, an act that calls forth forgotten civilizations rather than mere observation. Using optical and electron microscopes, 
I extend microscopic surfaces beyond the limits of the naked eye and translate them into visual language, juxtaposing additional images onto the metal.
The microscopes are not merely tools of magnification but devices that transform perception. I no longer see coins as currency, but as material records where power, belief, and identity are compressed, their cracks and textures revealing layers of time and history. I overlay these surfaces with newspaper articles, film scenes, and symbolic objects, allowing images from different eras to collide and intersect within a single frame.
For me, magnification is both a physical expansion and a metaphorical leap toward deeper perception, where scientific visuality and imagination coexist.
Ultimately, this work uses technology to reveal the unseen and question what is recorded or erased, turning the coin into a canvas for lost voices.

Unknown Creatures No.1

Fish Scale Mountain

Plankton

Unknown Creatures No.2

Unknown Creatures No.3

S2340 Olive

Bloodguilt

Wisdom of age & ferocity of youth

Initialization

Heaven’s Whisper on a Drowsy Afternoon

Seven Stars, A Crown, and Serendipity

Who I Am

Prayers in Silence

Reset Unfolded

Another Beginning

Gentle Judgment

Beyond Miracles

Unexpected Delight

Result

Resetting Joy

Where Ends Meet

One More Chance

Celebration

Aether

Pond

Graveyard

No one noticed

Piece of Me

The Passage of Hourglass

Behind the Curtain of Perfection

Dream Weaver

The Life Conductor

The Missing Piece Within

Crossroads of the Unknown

The Floating Dreams

The Lost Key

Roots of the Past

The Unity Die

Surrender of Life

Pawn’s Gambit

Endless Labyrinth

End of Control

Balance Isn't Harmony

Castle of Emptiness

Masterpiece Marionette

Life’s Own Performer

Chains of Perfection

Pull-Push

Inner Peace

Mend Pieces

Bloom in Silence

Window to the Cosmos_Unfamiliar Moon and Climbing Roses

Window to the Cosmos_Hydrangea

Window to the Cosmos_Solomon's Seal

Window to the Cosmos_Red Zinnia

Window to the Cosmos_Alpine Poppy

Coeurs Volants

A really good question

Where can I feel comfortable in this changing world?

Grasp 1

Path 3

Path 2

Path 1

Distant Music

At the Exhibition of Flowers Arrangements in Suzhou

Winter Still Life

the Temple of Doom no.2

Tomas

Encounter 조우

Hollow 오금

Spine 등허리

Omen 징조

Monarch of Beauty

Monarch of Revival

Monarch of Justice

Monarch of Wisdom

Monarch of Peace

Monarch of Liberty

Monarch of Courage

Monarch of Love

I Once Saw a Man Who Stood Still W1/30

A Man without Words H1/30

바람

밤하늘의 별처럼

저녁노을

Help!

Flora Aura

Biophilia Scape

Why Re Wild

Secret Garden

Secret Garden 2

When Life Intertwines

Bloom and Beings

Belonging or Passing?

Eye of The Heart

Please, Step Gently

Hidden Gem

When the rain is going down

Trinity

Red, Yellow and Green

[1,2,3] C

Untitled

[1,2,3] B

cresc.

8vb to 8va

ff(tambourine)

Score2

Bent Conduit

붉은 달

초롱

꼭꼭숨어라

안경녀

핑크머리

패스

무제

귀걸이를 낀 여자

빨간 눈과 빨간 머리

검정 눈

나무와 소녀와 나무

32개의 꽃

혼돈

23마리의 새

고양이와 고양이와 고양이

누가 내 머리에 오줌 쌌어

혼란

뱀 세마리

Playground 1

Ambang

Playground 2

Jeda

Quantum

Priced

Echoes of Grace

Artists