Rukkit Satapornvajana, born in 1978, is a graphic designer and street artist. He graduated with a bachelor’s degree in Art Education from Chulalongkorn University, and started painting on the streets in 2011 by applying stencils in a colourful and geometric style.

Mitsuyo Okada is a Japanese-born, Brooklyn-based painter whose atmospheric works capture the emotional essence of nature through soft, lyrical depictions of light, plants, and seasonal memories.

Jieun Lee - A highly successful artist who has sold out solo exhibitions in Korea for four consecutive years. She enjoys traveling to Thailand, and her works are often set against Thai backgrounds.


[Layers of Deficiency: Reframing Through Monsters and Frames]
The core theme permeating the artist’s work is ‘deficiency.’ While often dismissed as a negative element that renders humans incomplete, the artist strips away this stigma by infusing it with constant contemplation and observation. In her hands, deficiency is reinterpreted and brought to life as whimsical, fairy-tale-like creatures called ‘Deficiency Monster.’ These beings are meticulously crafted on soft felt, where the rich texture of oil pastels meets the delicate, sharp strokes of a pencil to create a sense of living fur.
Narratives of deficiency—once marginalized and deemed trivial—are brought to the surface through the medium of the ‘Frame,’ which the artist hand-builds from stone clay. Traditionally a tool for exhibiting and preserving something precious, the frame here serves as a protective fence for deficiency. It provides the audience with the necessary psychological distance to step back and view their most intimate emotions through a lens of fantasy.
The recurring signature of the work is the ‘Monster’—a pill-shaped creature with half-closed eyes that serves as the artist’s persona. The moment viewers lock eyes with these monsters, they undergo an indirect encounter with another’s deficiency. 
Yet, this gaze ultimately reflects back onto themselves. The artist invites the audience to meet the monster’s eyes, hoping this shared gaze becomes a moment to finally confront the deep-seated deficiencies within their own hearts.

Cho Youngnam is a celebrated singer, television personality, and contemporary artist who has built a distinctive visual language that bridges popular culture and fine art. By reinterpreting the traditional Korean card game hwatu through the lens of pop art, he transforms a simple pastime into a cultural symbol and collective memory that transcends generations. His works dissolve the boundaries between tradition and modernity, mass culture and high art, humor and satire—expanding the aesthetic possibilities of contemporary art.

Kim Hanna is a painter who has lived and worked in Busan since she graduated from the College of Fine Arts at Busan ​​National University. She has depicted the life and relationship between two characters, Hanna and Rabbit which the artist's internal world is reflected by.  

She has had many solo exhibitions, including Alternative Space Loop in 2006, Arario Gallery Beijing in 2007, Arario Gallery Seoul in 2008 and 2013, and Gana Art Gallery Busan in 2017. She also completed her solo exhibitions at Seoul Lotte Hotel & Resort Gallery in 2018, and Ecru in Busan in 2021. She had her first solo exhibition in Bangkok, Thailand in 2023.

She has tried to work with her wide span of creativity. She collaborated with Uniqlo, Shinsegae Department Store, etc. She also created the album cover work for Monthly Yoon Jong Shin. In 2022, she published a Poem book with drawings with the poet Park June. 

Since returning from Japan, AeGoh has passionately showcased the uniqueness of her painting through five solo exhibitions, beginning in 2016. Notably, from 2017 onward, she has cultivated a distinctive artistic realm by establishing her home in the heart of a serene forest, where she creates semi-abstract works that embody the vibrant colors of nature. The artist perceives her family, everyday individuals, plants, animals, light, wind, and still life as equitable beings that engage and coexist within nature, capturing the shared rhythms of life on her canvases. AeGoh's work originates from her personal narratives but expands into universally relatable expressions of life through simplified forms and harmonious color combinations viewed from a liberated perspective.

Atreyu Moniaga is an Indonesian ar=st based in Jakarta. He graduated with a degree in Communica=ons and Visual Design from the Jakarta Ins=tute of the Arts (IKJ) and started his career in the crea=ve scene as a freelance illustrator and photographer before fully immersing himself as a fine ar=st.
His works are influenced by dark fantasies with a =nge of surrealism, in which he combines visual symbolisms as a way to communicate his most private thoughts, feelings, and desires. His works are characterised by a whimsical universe , led with beau=ful ornamental details.
‘Complex emo=ons that are oDen perceived as nega=ve, such as despair, grief, and anguish are fuels to my ar=s=c process. I try to convey these emo=ons through the visual universe I invented,
though I hope my audience can find a source of hopefulness and self- acceptance to confront their own grim facets. I oDen allow myself to be lost in my own thoughts, where I feel unbound in crea=ng these fic=onal stories and characters found in my works, my universe.’

Amin Taasha was born in Bamiyan province in 1995. When he was just 5 years old his family
moved to Kabul, because of the fear of the Taliban. At the age of 5 he learned about the craft of
carpet making after moving to Kabul. In 2007 he started painting in high school and then in 2009, he
officially studied painting and calligraphy at the Institute of Fine Arts in Kabul. During his education
at the institute, he attended workshops with Australian artist Khadim Ali, which had a profound
influence on his practice and he began to incorporate aspects of abstraction and miniature painting
into his artworks. His career as an artist took a sudden unexpected turn in 2012; he was invited to
participate in DOCUMENTA -13’s international project at the National Gallery of Afghanistan.
Parts of his artworks were misunderstood and drew the attention of the authorities, leading him to be
intimidated at gunpoint before being blacklisted from exhibiting his work. This ban led him to seek
opportunities to travel abroad, and in the following year he received a scholarship to study in
Indonesia, moving first to Semarang in Northern Java, before settling in Yogyakarta to study at the
renowned Indonesia Institute of the Arts (Institute Seni Indonesia), where he did his degree in Fine
Art and exhibited both domestically and internationally, such as in the 10th Asia Pacific Triennial of
Contemporary Art (APT10), QAGOMA, Brisbane, Australia, Tokyo Art fair, Japan, the 4th Dhaka
Art Summit - Bangladesh,Richard Koh Fine Art, Kuala Lumpur, Auckland Art fair, New Zealand,
Documenta13, Afghanistan, ECO Cultural Institute, Iran, Indonesia, Canada, Germany, Italy, etc.

His work focuses on ceramic forms created through wheel throwing, particularly moon jars and their contemporary variations. He explores the tension between perfection and imperfection, reinterpreting traditional Korean pottery forms through a modern sculptural perspective.

Yoonhee Na, a graduate of the Department of Comics and Animation at Sejong University, has been actively publishing since 2014 to the present. She has worked on serials such as <Blind Garden>, <This Magical Moment>, <Whale Star: The Gyeongseong Mermaid>, and <A Heartfelt Andante> and was awarded the Presidential Award at the Korea Content Awards in 2021.

Sangnam Park has long pursued a practice that traverses painting, installation, and object-making,
tracing the “residues of emotion.” Through repetitive brushwork and layered surfaces on canvas and
found materials, he constructs what may be called the topography of the inner self. His works
balance spontaneous gestures with delicate materiality, creating a visual language where light,
texture, and emotion coexist in harmony.

Glen Wilson's multi-disciplinary practice is comprised of photography, sculpture, filmmaking, installation, and assemblage. Provoking questions around voice, visibility, and cartography, Wilson’s works suggest fluid narratives of place, diaspora, cultural heritage, and the intersections of individual and communal identity. Wilson received a B.A. from Yale University, New Haven, CT and an M.F.A. from the University of California San Diego. Recent group exhibitions include the Getty Center, Los Angeles; California African-American Museum, Los Angeles; the Museum of Contemporary Art, Los Angeles, CA; Honor Fraser, Los Angeles, CA; Charlie James Gallery, Los Angeles, CA; Quotidian, Los Angeles, CA; Torrance Art Museum, CA; Eastside International Los Angeles, CA; and the Los Angeles Municipal Art Gallery, CA. Wilson spent a year as a research fellow at the New York Public Library’s Schomburg Center for Research in Black Culture, Harlem, NY.

Landscape Opens Into ‘The Returning Place’

My paintings explore how landscape opens into The Returning Place.
I am drawn to moments that seem suspended—clouds before they dissolve, waves gathering, or a sky just before night arrives. These fleeting states appear to hold something not yet fully revealed.
Recurring forms such as clouds, waves, moons, and horizons appear throughout my work. What first appears as landscape slowly unfolds into place. Through perception and lived experience, familiar scenes begin to reveal themselves differently.

Rather than depicting real places, I paint the imagination waiting within familiar landscapes. In this sense, my landscapes are not destinations but thresholds—places where perception, memory, and possibility quietly overlap.

My paintings move toward The Returning Place—a place that feels newly encountered yet strangely
remembered, as if it had always been there.

Gyu Ok (B.1979) graduated from Dong-duk Women's University College of Arts in Painting (B.F.A.) and completed a master's degree (Diplom) at Munich National College of Art with Sean Scully and a doctorate in painting at Dongduk Women's University. She participated in nine solo and several group shows internationally. Also, she was selected in the Art Factory Dadaepo (Busan) Residence and Kunstdog (Leipzig) Residence. It is owned by the National Department of Modern and Contemporary Art and the Art Bank, and by a number of businesses and personal collectors. She currently lives and works in Atlanta, U.S.

The overarching theme of JIYOUNG LEE's work is the "Human Zoo." The term is inspired by zoos, depicting facets of human life where individuals, like animals in a zoo, lose their instincts and live predetermined lives shaped by societal expectations. The black ink wash surrounding the "Human Zoo" represents artificial rocks in the zoo, symbolizing societal norms, laws, and universal conventions desired by society. While seemingly protective, these elements also confine human nature. Through her art, JIYOUNG LEE aims to portray the individuality, homogenization, desires and confusion within this enclosed space, prompting reflection on the choices individuals make in navigating their lives within these confines.

Eventually, the scenery of the world is transformed into each person’s unique picture plane. Yuki SAEGUSA (b. 1987) aims to capture the subjective world reconstructed in consciousness by an individual's complex memories and perspectives on the canvas. The title of Kukuzen "Tent" (2022) derived from a passage in Zhuangzi's “Dream of Butterflies.” The word pronounced as ‘Kukuzen (栩栩然)’ in Japanese is an onomatopoeic word expressing the appearance of a butterfly flying. A small tent appears in the middle of a surreal field delicately depicted with a fine brush. A small unidentified animal in the lower right corner of the screen is busy exploring an unfamiliar world. The artist emphasizes that both the reality of everyday life and the world within the painting are her true present.




Yuki SAEGUSA was born in Nagano, Japan, in 1987. She received her BFA in Oil Painting at Nagoya University of the Arts  in 2010. She has held solo exhibitions at various institutions such as Gallery A (Shizuoka, Japan, 2022), Yebisu Art Labo  (Aichi, Japan, 2022; 2017; 2013; 2012), as well as group exhibitions held at ARARIO GALLERY SEOUL (Seoul, Korea, 2024), Bunkamura Gallery (Tokyo, Japan, 2023), ARARIO GALLERY SHANGHAI (Shanghai, Korea, 2022), Ginza Tsutaya Books (Tokyo, Japan, 2021), Nagoya Denki Community Hall (Aichi, Japan, 2017) and more. Her works are collected by institutions such as Nagoya University of the Arts, and more.

Park Seo-Bo was a pivotal figure in Korean contemporary art and a founding member of the Dansaekhwa movement, which emerged in post-war Korea in the early 1970s and has since gained international recognition.
His signature series, 'Ecriture,' began in the late 1960s through the repetition of pencil lines drawn over wet monochromatic surfaces. Over time, he expanded this language by incorporating hanji (traditional Korean paper) and color, creating works through layered actions of pasting, scraping, scratching, and rubbing — a meditative pursuit of emptiness through reduction.
Park's work has been exhibited at major institutions worldwide, including the Venice Biennale, Tate Liverpool, Brooklyn Museum, and Samsung Museum of Art. His works are held in the permanent collections of the Solomon R. Guggenheim Museum, M+, Guggenheim Abu Dhabi, and the National Museum of Contemporary Art, Korea.

Kim Muyeol graduated from the Department of Fine Arts at Konkuk University and has since developed a body of object- and furniture-based work centered on the contingency inherent in clay as a material. The process of ceramic making—sometimes completed exactly as planned, sometimes veering into entirely unforeseen results—has come, for the artist, to mirror an attitude toward life itself.
In Plan : Beyond, his solo exhibition at Gallery Kabinett, Kim draws on the actual architectural plans of institutions including the Getty Museum, the National Museum of Modern and Contemporary Art (MMCA), the Musée du quai Branly – Jacques Chirac, the Guggenheim Museum, and the Sayamaike Museum as a starting point for his work. He redraws each building's floor plan by hand with a 3D pen and presses it into a slab of clay; onto that imprinted surface, he then builds up form improvisationally, layering planned structure over accidental change to create a new kind of landscape. From this completed slab, another new slab is pressed in turn—so that the shape of the architecture leaves its trace again and again, as if inscribed into pattern.
Just as artifacts and artworks of disparate origins take on a second narrative once placed within the space of a museum, the architectural forms and plans embedded in Kim Muyeol's clay slabs are reborn—within the physicality of the material itself—as a new stratum of spatial art, one holding boundless possibility.

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.

Wada Chizu liked to draw from an early age, but learned to draw by self-taught against her parents' 
opposition. She started serializing her paintings on the Internet in 2009, and made her debut as a cartoon artist in 2014. Since then, she has been actively working in various art scenes such as publications, exhibitions, and art fairs, expanding the scope of her creation through painting. 
The paintings contain a wide range of themes: humans and animals, me and the outside world, and 
relationships. In recent years, the artist has been focusing on acrylic canvas paintings, but before that, she used to draw manga and illustrations. In the new works presented in this exhibition, she again used the pen, which was the main medium of her work. To her, new works simultaneously mean a return to the roots of her work and an exploration of new styles. In the painting, ‘I’ wear animal clothes. Costumes are a way to protect herself in relationships and an act of allowing her true inner self. That place, different from reality, is another form of self-expression.

Mr. OGAY is a street artist from Taiwan, and is a self-proclaimed angry youth filled with love. He has been invited to Japan, China, New York, and more, for graffiti projects. His graffiti art motif mostly features a naked man who is under-dressed. Since stepping into the world of graffiti in 2000, his work has saturated walls all over Taiwan, and he consequently sets the record as the most frequently reported artist in Taiwanese history.


From 1973-76 he attended the University Witwatersrand, in Johannesburg, South Africa. He studied at the  Johannesburg Art Foundation, Johannesburg, South Africa, from which he graduated in 1978. In the early ‘80s he moved to Paris to study theater, attending the École Jacques LeCoq, and investigating acting, directing, and filmmaking, with little success. In the late 1980s he went back to art, making drawings and animated films and other films. Between 1989 and 2011, he created 10 Drawings for Projection, a set of 10 animated movies, which caused him to understand that the films were fundamental to his work. Kentridge has also directed several operas. He has been awarded The Carnegie Prize, Pittsburgh in 2000, and is the recipient of several honorary doctorates, including an Honorary Doctorate from the Royal College of Art, London in 2010.

He was Humanitas Visiting Professor in Contemporary Art at Oxford University, Oxford, UK in 2013. He was honored as a Commandeur des Arts et des Lettres.  In 2016, his solo exhibition “Thick Time” opened at Whitechapel Gallery in London. Kentridge has participated in Documenta (2012, 2002, 1997) as well as the Venice Biennale (2015, 2005, 1999 and 1993). His work is in the collections of the Tate, London, the Museum of Contemporary Art, Chicago, the Metropolitan Museum of Art and the Museum of Modern Art in New York and the San Francisco Museum of Modern Art, among many others.

Artists