Herbert Matter was a Swiss-born American photographer and graphic designer known for his innovative use of photomontage in posters. Matter also photographed the unique personalities of his friends Alexander Calder and Alberto Giacometti at work in their studios. Born on April 25, 1907 in Engelberg, Switzerland, he went on to study painting under Fernand Léger and Amédée Ozenfant in Paris, before working as an assistant to the famed architect Le Corbusier. During the early 1930s, Matter established his career in design with the posters he created for the Swiss National Tourist Office. Moving to New York in 1936, the artist worked as a freelance photographer for a number of magazines including Vogue, before being signed exclusively by Condé Nast. In the decades that followed, Matter took on many roles, including working as a design consultant for both the furniture company Knoll and the Solomon R. Guggenheim Museum. The artist died on May 8, 1984 in Southampton, NY. Today, his works are held in the collections of the Smithsonian American Art Museum in Washington, D.C., the J. Paul Getty Museum in Los Angeles, and the Victoria and Albert Museum in London, among others.

Dong Hyuk Lee explores the spaces and objects that once reflected people’s beliefs and origins, but at some point were abandoned and have come to wither away. Lee imbues his experiences and memories onto various objects such as chairs, glasses, pianos, and crosses that have been left in ruins and paints landscapes and portraits that emerge from the stories he gathered on these objects. As such is his process, the space and objects he captures first reveal the artist’s beliefs and subjective rendering. On the other hand, Lee has experimented with and immersed himself in various compositional elements such as symbolic figures, signs, and colors in the pictorial dimension so that his work is not composed solely of the subjective. Continuing this artistic exploration, his recent works embody the act of “seeing” itself, which reflects the artist’s will to examine the multi-layered nuances of the operation of recognition and identification of the object’s significance within the methodology of painting.

Atreyu Moniaga is an Indonesian artist based in Jakarta. He gradu- ated with a degree in Communications and Visual Design from the Jakarta Institute of the Arts (IKJ) and started his career in the creative scene as a freelance illustrator and photographer. His works are influ- enced by dark fantasies with a tinge of surrealism, in which he com- bines visual symbolisms as a way to communicate his most private thoughts, feelings, and desires. Although he takes inspiration from somber sentients, his works are characterized by a whimsical universe filled with beautiful ornamental details. Working primarily in paint- ing and drawing, Atreyu has recently explored sculpting and remains open to cross-disciplinary collaborations. 

Complex emotions that are often perceived as negative, such as despair, grief, and anguish but they are fuels to his artistic process. Moniaga tries to convey these emotions through the visual universe he invented. Incorporating reference from popular culture, medie- val legends, and religious stories, Moniaga crafts symbols and coded visual languages in his paintings as a way to express his innermost thoughts, feelings, and desires. He hopes his audience can find a source of hopefulness and self-acceptance to confront their own grim facets. He often allows himself to be lost in his own thoughts, where He feels unbound in creating these fictional stories and characters found in his works, his universe. 

Tulsi Patel is a Tanzanian multidisciplinary artist working across painting, mixed media, and installation. Raised in Dar es Salaam, her early practice was grounded in realism, but over time she embraced experimentation — discovering beauty not as replication, but as revelation. Her work interrogates the fluidity of identity, memory, and human connection, celebrating intuition, imperfection, and the rhythms of collapse and renewal. She has exhibited widely, including at Rangi Gallery.

Lee Kwang Ho is a representative figure in realism paintings. He takes daily subject matters and takes the reproduction of their forms into a unique language of his own. Although realism seems like quite a laborious task and sometimes compulsive as well, through the pictorial depiction of Lee Kwang Ho, we see the reconstructed reality fabricated by his intentions. Subjects that are expressed both vigorously and dramatically expose the desires of their subconscious, and also stimulates the tactility of those that behold them. In his wetland series, he experiments with techniques like scratching and tapping on the canvas. Upon closer inspection, the depicted subjects dissolve, leaving behind a layer of paint with precise brushstrokes and meticulous knife work, which emphasizes the exploration of the fundamental question of painting - the act of painting itself.
Lee has held solo exhibitions in various venues, including Johyun Gallery, Busan; Kukje Gallery, Seoul; and Chang dong Studio Gallery, Seoul; and has participated in group exhibitions at Seoul Museum of Art, Seoul; Busan Museum of Art, Busan; Gana Art Center, Seoul; and Saatchi Gallery, London. His works are included in prestigious collections such as the National Museum of Modern and Contemporary Art, Seoul; the Seoul Museum of Art, Seoul; the Gyeonggi Museum of Art, Ansan and the Jeju Museum of Art.


Yihyun Kim draws about the futility of "wish." In her paintings, the theme is revealed in intense colors, an image of the deity with the motif of "Tanghwa," and the back of the wreath. The blindness of someone's act of continuing prayers even though they guess that their prayers will not be fulfilled indicates the back of what we desperately wanted, what we wanted to avoid the most. She earned a bachelor's degree from Hongik University's Department of Metal Art & Design and Oriental Painting. Currently, she is attending the Graduate School of Oriental Painting at Hongik University.

Muholi is a visual activist and photographer born in Umlazi, Durban, and living in Johannesburg. The artist’s self-proclaimed mission is “to rewrite a black queer and trans visual history of South Africa for the world to know our resistance and existence at the height of hate crimes in SA and beyond."

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.

Benedikt Hipp(b.1977), who studied at the Munich University of Arts in Germany, the University of Bologna in Italy, and the Academy of Bildenden Künste Nürnberg in Germany, has participated in internationally renowned exhibitions. These include the Wilhelm-Hack-Museum Ludwigshafen (2015), Kunstverein Bielefeld (2010), Kunst Palace Erlangen (2012), Art Babe Statement (2009), and Art Babe Statement (2009). He has also taken part in collaborative events like Musée d'Art Contemporain Bordeaux in 2012 and Kunstverein Hannover in 2012.
In 2020-21, he was awarded the prestigious "Roman Award Fellowship" at the German Academy Villa Massimo, one of the most distinguished artist awards in Europe. He currently resides and works in Munich and Rome, Germany, within the European context.


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.


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.

Luke Park creates a new beauty through the aesthetics of imperfection and minimal expression on an empty canvas. The artist, who majored in Business at Hongik University and received a master's degree in Arts and Cultural Management from the graduate institution, is claimed to have been interested in traditional Japanese culture for a long time. In particular, the Japanese dry garden culture, known as Zen Garden, influenced his current style of painting. Instead of incorporating incidental components in his works, he attempts to convey the meaning solely through the flow of brushstrokes. Exploring the true nature of life, the artist reveals via his works the necessary approach to life in our materialistic society. 

‘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.


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.

The artist's work invites us to pause from our busy lives and direct our attention to the whispers within our hearts. This is likely because her work, even though it is full of the small and ordinary things of life, evokes a dreamy and free-spirited feeling reminiscent of childhood memories filled with all sorts of imaginations. Furthermore, the clumsy and unadorned appearance, reminiscent of a child's, also captures attention. These rough but heartfelt feelings seem to make the entire work soft and warm. The screen is full of childlike freedom, unspoiled purity, and honesty. As if following the old saying that great skill is rather clumsy, the artist's work transcends the confines of skill and style and freely conveys the artist's heart as it is.(Min Byung-jik, Curator)

b. 1980, Montalban, Philippines

At the heart of Rodel Tapaya’s work is his ongoing amalgamation of folk narrative and contemporary reality within the framework of memory and history. Utilizing a range of media - from large acrylic on canvasses to the exploration of under-glass painting, traditional crafts, diorama, and drawing - Tapaya filters his observations of the world through folktales and pre-colonial historical research,  creating whimsical montages of his characters.

Selected solo exhibitions include: “Random Numbers”, Tang Contemporary Art (Hong Kong SAR, China,2021); “Myths and Truths”, Tang Contemporary Art, Beijing (China, 2018); “Urban Labyrinth”, Ayala Museum, Manila (Philippines, 2018); “Rodel Tapaya: New Art from the Philippines”, National Gallery of Australia, Canberra (Australia, 2017); “Rodel Tapaya”, Galerie der Stadt Sindelfingen (Germany, 2016). Selected group exhibitions include: “Fragment with Dusty Light” Tang Contemporary Art, Seoul (Korea, 2022);  “Memory, Playfulness, and Stream of Consciousness”, Tang Contemporary Art (Hong Kong SAR, China, 2022); “Falling”, Tang Contemporary Art, Beijing (China, 2022); Heavenly Bodies in the South, He Xiangning Art Museum, Shenzhen (China, 2020); “Far Away So Close!”, ARNDT Agency, Berlin (Germany, 2019).

His work is held in the following museum and institutional collections: Art Gallery of New South Wales, National Gallery of Australia, Tokyo Mori Art Museum, Singapore Art Museum, Philippines Bencab Museum, Philippines Ateneo Art Gallery, Philippines Pinto Art Museum, Central Bank of the Philippines. Rodel Tapaya was awarded the coveted Top Prize in the Nokia Art Awards, which allowed him to pursue intensive drawing and painting courses at Parsons School of Design in New York and the University of Helsinki in Finland. In 2011, he won a landmark achievement for a Filipino artist by winning the Signature Art Prize given by the Asia-Pacific Breweries Foundation and the Singapore Art Museum. He was also among the Thirteen Artists Awardee of the Cultural Center of the Philippines in 2012. 

Jourdain Jongwon Lee is sculptor, and artist based in New York. He moved to the United states from Korea in 2010 and had M.F.A. from Long Island University. He has been working on his ‘Golem’ series since 2008 through Seoul to New York. The name of series, Golem is originally from Jewish folk lore. Golem is an animated anthropomorphic being, created entirely from inanimate matter. The Golem series is connected to the idea of protection, guardian, and golem which is connected to shamanism in Korea.

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