Kang Kang Hoon's portrait series not only captures external features but also delves into the deeper emotional essence of each subject, inviting viewers to confront their true selves. His daughter, a recurring motif, serves as both the focal point of the artwork and a reflection of Kang himself. In a recent oil painting series, Kang incorporates symbolic object cotton, inspired by a yearning for his recently deceased mother. The contrast between withered branches and bloomed cotton subtly conflicts and harmonizes, contemplating intergenerational connections. Employing cotton as a metaphor for the enduring connections within humanity, Kang explores broad themes of the past and future on the delicate realm between figuration and abstraction.
Major exhibitions featuring his works include the Jeju Museum of Art, Jeju; Wooyang Museum of Contemporary Art, Gyeongju; Clayarch Gimhae Museum, Gimhae; Gyeonggi Provincial Museum, Ansan; Jeju Museum of Contemporary Art, Jeju; Gyeongnam Art Museum, Changwon, and Seoul Museum of Art, Seoul. His works are in the collection of the National Museum of Modern and Contemporary Art. He has been featured and sold out at numerous art fairs worldwide, including Hong Kong, Singapore, and Shanghai, and he continues to remain active internationally as one of the most recognizable, leading artists in Korean contemporary art today. 


Hiroshi Mori is a Japanese Asian Modern & Contemporary artist who was born in 1977. Numerous key galleries and museums such as AMMON, Kyoto have featured Hiroshi Mori's work in the past. In MutualArt’s artist press archive, Hiroshi Mori is featured in LA Art Show 2016 Recap, a piece from Hi-Fructose in February 2016.

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.


YuChun Chen (b.1980, Changhua, Taiwan), now living in Tamsui. She received her M.F.A. from the Graduate School of Fine Arts, Fo Guang University. Her works are mainly oil paintings and film photography. She focused on themes of past memories, dreams and the continuity of time, traveling through the atmosphere of both the real and the imaginary.

This work begins from the wall that individuals inevitably confront while living in reality. The feeling of wanting to do something for someone, yet realizing that there is almost nothing one can actually do, generates a sense of frustration that takes the form of longing. However, this longing does not function as consolation; instead, it remains as a persistent irritation, scratching at a corner of the mind.

This longing cannot be grasped. It feels too distant, approaching as an illusion seemingly unrelated to oneself. And yet, the act of wishing—like clinging to someone’s pant leg—offers no comfort. There is an unease, as if one is yearning for something that should not be desired. This contradictory state forms the emotional point of departure for the work.

This feeling recalls a scene from the film Parasite, in which the protagonist imagines that one day he will buy the house and reunite with his father. That desire is less a form of hope than a fantasy rendered all the more tragic by its distance from reality. This work remains within precisely such a state of “answerless longing.”

The project focuses on the imagery of talismans believed to ward off misfortune and invite good fortune. Traditional auspicious symbols such as the Seven-Star Horse, the three-legged crow, and the pig appear through repetitive stitching and drawing. Yet these images do not promise protection or comfort; rather, they resemble gestures of excessive desperation. They are less acts of faith than attempts to forcibly grasp and summon something at all costs.

The accumulated labor of the hand on soft, fragile materials fixes longing into material form, but the belief that it might actually be effective never reaches completion. This work is not an act of praying for fortune, but a revelation of the state of being compelled to long for it.
What scratches is not the surface, but the mind.

Tat or Nattee Sujithara was born in Bangkok in 1983. He received a Bachelor Degree of Fine Arts in Painting from Chiang Mai University in 2006. After graduation, he opened a solo exhibition ‘Color of Life’ at Neilson Hays Library in Bangkok in 2009. He later took on many portraiture and illustration projects, and also worked on ideas for next exhibitions. With more experiences in an art world, he decided to be a full-time professional artist and opened his second solo exhibition ‘Circle of Thought’ at The Meeting Room Art Gallery in 2019. He received the Triennale Prize in Drawing Category from the 5th Bangkok Triennale International Print and Drawing Exhibition, at Bangkok Art & Culture Centre in Bangkok. He currently works and resides with his family in Chiang Mai. 


Ryan Lee is based in New York and has held exhibitions in Chicago, Valencia, and Sacramento. The artist's work statically presents everyday spaces and flat, banal scenes. Scenes containing still life that highlight the absence of humans capture an unclear, open story as if someone has just passed by or may be approaching. It is full of the ambiguity of not knowing when and what will happen, and the production is cropped from a third perspective as if you are watching through CCTV. The work leads us to deeply observe familiar things, adds imagination and psychological anxiety, and, unlike the reproduction of everyday life, it is no longer distant from the ordinary.

Jiyoung Yoo studies artificial orders and systems that are found in everyday life, and the history of objects that belong in such system. As a subject of painting, the artist observes and collages various forms of objects such as eggs, water cups, manuscripts, calendars, and clocks that are often categorized as one unit or assembled as a bundle. This unique practice highlights the idea of relations in paintings. Visually intersecting and yet limiting the conditions of systems that each object has, the variations that the artist depicts present a new perspective in her own language.

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.

CHO Minah delicately captures how the inner world of individuals transforms and responds within a contemporary society where conflict and solidarity, division and connection coexist. As both an observer and an insider, she constructs scenes interwoven with relationships, symbols, and emotions, unfolding the complex and ambiguous landscape of the present on the canvas like a parable.
Focusing on the will and attitude of individuals as they navigate life, she brings a contemporary sensibility to traditional Oriental painting materials, delivering a universal message that quietly reflects on everyday life and society.
Her major solo exhibitions include 《Swaying moment》 (2022, Gallery MEME), 《 Those Days Are Scattered》 (2021, ArtSpace Boan2), 《 Subtraction, Division and Addition Again》 (2020, Kumho Museum of Art), and 《Deafening Silence》 (2018, OCI Museum of Art). She has been selected for notable programs such as the Kumho Young Artist program, the Gwangju Hwaru Excellence Award, and OCI Young Creatives. Cho has also participated in several artist residency programs, including Kumho Art Studio, Gyeonggi Creation Center and OCI R1211


SoYeong Kim reflects on urban life through photos taken in daily life, capturing fleeting moments that evoke a sense of both illusion and emptiness. Her work is characterized by creating illusionary scenes by adding painterly ambiguity to real landscapes. She paints by repeatedly layering vertical strokes of acrylic paint on traditional Korean paper (Jangji). The unique textures created from the combination of Jangji and acrylic form the depth and richness of her works. The warm texture of Jangji contrasts with the cold, artificial texture of acrylic, and through the brushstrokes, these elements merge to create a dualistic atmosphere in her compositions.

Through meticulously balanced images that encourage prolonged attention, Sugimoto’s work focuses audience consideration on the ways in which humanity makes sense of itself. Sugimoto moved to Los Angeles in 1971, receiving his BFA from the Art Center College of Design in 1972. In 1974, he moved to New York, and became involved in the Minimal and Conceptual art scenes of the late 1970s. His best-known series, including Dioramas, Theaters, Seascapes, Portraits, Architecture, Conceptual Forms, and Lightning Fields draw heavily upon repetition, unifying disparate locations through shared compositions, and are characterized by use of long exposures, black and white film, and analog processes. In recent years, Sugimoto has begun to design architectural spaces that, like his photographs, use simplicity of form to focus attention on the mechanisms through which we understand the world.  

Sugimoto has had solo exhibitions at the National Museum of Contemporary Art in Osaka (1989), the Museum of Contemporary Art in Los Angeles (1994), San Francisco Museum of Modern Art (2000), the Guggenheim Museum Bilbao and the Neue Nationalgalerie in Berlin (2008), among many other venues. He has received many honors, including the Praemium Imperiale Award for Painting, Tokyo in 2009 and Officier de L’ordre des Arts et des Lettres, in Paris in 2013. In 2017, he was honored as a Person of Cultural Merit in Tokyo. His photographs are in the collections of the Metropolitan Museum of Art, New York; Museum of Modern Art, New York; National Gallery of Art, Washington, DC; San Francisco Museum of Modern Art; Tate Gallery, London; and many others.

Key Minjung (b. 1986) has been actively involved in the Seoul art scene since her selection as a Young Creative at OCI Museum of Art in 2019 and her participation in the <Artist Takeover> at SongEun Art Space in 2021. Her exhibition at SongEun in 2021, which saw a significant integration of hanji (traditional Korean paper) work and glasswork, marked a pivotal moment in her career. Minjung graduated from Kaywon High School of Arts, Seoul National University’s Oriental Painting Department, where she also completed her doctoral program. Growing up in the structured curriculum of Korean academic art education, where she focused on traditional Eastern media, laid the foundation for her passion and research in this field. The connection between the artist and the medium s evident in Minjung’s work, which includes landscapes where thin hanji paintings float away from the wall, forming specific shapes on the floor, or instances where paintings hung by the window leave pictorial traces on the wall due to the translucency of hanji. Key continues to imbue a sense of materiality and eternity onto a series of transient moments through her artistic endeavors.

Wannita Tankeng
b.1999, Phuket, Thailand

Wannita Tankeng graduated with her Bachelor of Arts degree from King Mongkut's Institute of Technology Ladkrabang and with her Master of Arts degree from the Faculty of Painting, Sculpture and Graphic Arts, at Silpakorn University.
Wannita is interested in exploring how lights and colors are reflected through objects - inspiring her to create semi-abstract paintings.  The artist is fascinated by the allure of shiny surfaces and recognized for her ability to capture the luminous qualities of objects, encouraging us to think about how light and shadows interact around us. Capturing the essence of objects through attention to detail and her brushwork, she transforms recognizable objects into abstract renderings, highlighting the simplicity and natural beauty of ordinary elements and moments surrounding us.

Suyeon Kim(b.1986) started working in illustrated bird and plant guide books, encyclopedias, and obscene picture books. She collects the images and makes prints to build three-dimensional objects. These three-dimensional objects are both drawings and objects at the same time. The building method is not fixed as she changes it depending on the images. The recent work is based on a Chunhwa(春畵, literally "spring pictures"). She started with the question: what would I paint if I were a Chunhwa painter? By using sculptures reminding us of classical beauty and flower arrangements, the artist attempts to portray a great fondness existing between lovers who also seek momentary pleasure. The final image contains different perspectives, directions of light, and traces left from the original images, implying that every object in the final image once existed in a different time and space.

I work primarily with oil paint, applying it with intention but disrupting it before it sets. While the paint is still wet, I smear it with a towel—blurring, lifting, softening. In these gestures, I relinquish control and make space for chance. Sometimes the towel removes an image I thought I needed. Other times, it leaves behind a trace more evocative than anything I could have deliberately created. The smearing becomes a collaboration between my hand, the material, and the moment.

Since 2006, Lee Sangwon has been exploring the “aesthetics of rest” in our time through landscapes of leisure destinations such as ski resorts, swimming pools, and parks. He closely observes the patterns of specific places and spaces where people gather, and through his RESTOPIA series, poses the question: “What does true rest mean in this era?”

His works deviate from traditional perspective, combining various viewpoints such as bird’s-eye views from elevated positions, panoramic angles using 180-degree wide shots, and close-ups or upward gazes at specific subjects. These diverse perspectives make ordinary landscapes feel more extraordinary. Using the characteristic thickness of oil paint, he captures the textures of his subjects, and by traversing the boundary between abstraction and figuration, he explores new possibilities in contemporary painting.

Gyume is interested in the form in which invisible things such as air, wind, appearance, and extinction are visualized in the digital space and overlaps the images collected through it into the actual painting space. It freely uses the large and distinct cadence and vitality created by irregular shapes and lines, flexible brushes and paint marks as if swimming in aesthetic space.

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.

Cotton (230817)

After Sunset (240709)

When You Give Up, That'sWhen The Game Is Over

In the Name of the Moon, I Will Punish You

Who's the Joker?

Propitious dream

Phiphi Island

Is Your Fate in My Hand?

Dreamed of the Sea and Tears

Head to Somewhere

The Shades of Night

Iron Pheasant

After the Rain

Days of the Past

The Sofa

Talking Hands

Circular Time

Everything and Nothing

We Left a Sweet Place

Rooftop

Is My Fate in Your Hand?

Square

Gloves

The Moon

Going Home

Costal Wind

As I Went Over the Water

Binding

Engagement gifts_OmeXa

Engagement gifts_CarXier

Engagement gifts_Patek PhiXippe

D1 [Blue Prison]

F4.2 [Architectural Plan No. 2]

To the Moon

You are your own rainbow

Albino space kids no. 2

Albino space kids no. 4

Wall in Vermont

Moving Up But Still Looking Down

Day-Hour-Minute_16 Hours 20 Minutes

Day-Hour-Minute_20 Hours 40 Minutes

Day-Hour-Minute_A Day

June

Tic-Tac-Toe

8:00 PM

8:00 AM

Day-Hour-Minute_3 hours 20 minutes

Long-Distance Relationship_Wish You Were Here

Day-Hour-Minute_18 hours

April

the ocean

March

Moments of Journey 2501

Journey 240501

Moving and breathing things

A moving shape

Busy movement

Place of Arrival

Warp and Weft

Among the Flowers of the sun

Modeling Bead

Tiny Glimmers

Today's Collection

Tiny sparkle

Misleading signals

The moment of blooming

Tension 3

From Behind

Red Gem

Hand, Light, Shadow

A Single Flower

Trace

Remains 2

Beneath the Skin

The Shadow of an Object

Bouquet

Flesh Without Flesh

Low Light

Hands

The Weight of Skin

Incident Light

Remains

Show Window

The Scientist's room

Hallucinatory hero

Crumpled paper

A Pyre in Flames

OUTER SPACE EXPLORATION KIT

A Perfectly Ordinary Scene

Two Wrapped Offerings

Butterfly Shadows Over the House

A Shell Grave 3

Melting Statue

Flesh 1

Expression

100 Keys

Flesh 3

Overload Image

The Sinking Glass

Ghost Flowers

Flesh 2

The End of One’s Gaze 3

Face

The End of One’s Gaze 2

Fall Asleep

Empty Frame

A Shell Grave 2

A Shell Grave 1

A Pile of Shells 2

A List of Things

The Coral and The Conch

Mobile

Impression

A Piece of light

Affect

Image of an image

Outside of Light 2

Place of Gaze

Beyond the Fingertips

Outside of Lights 1

Green Beans

Melting Santa

Heart 2

Heart

Flexible frame

Broken sign

Great void

Weird space 1

Night view

Hiroshi Sugimoto, Revue N° 1

PPTRD 005, limited edition including original artwork

PPTRD 040, limited edition including original artwork

Overlap

Just the two of us 15

Still life

With the Flower

Dalmatian

Still Table

Nostalgia

Floating people

Running blueberry

I rode the waves, and I was just surprised

Split the night

If you pick up a rainbow

The four leaves left by the shadow

The Grand Little Stone 3

The Grand Little Stone 2

The Grand Little Stone 1

The Same ‘Moha’ 3

The Same ‘Moha’ 2

PIxel SK8 Stool

Scattered Memories 11

Scattered Memories 3

Scattered Memories 4

Scattered Memories 5

The Same ‘Moha’ 1

Warmly Remembered Moments

Seoulvivor

Scattered Memories 7

Scattered Memories 8

Scattered Memories 9

Scattered Memories 10

Scattered Memories 6

City Hall

Seok Chon Lake

Olympic

Facing the Pixel Portraits

Warmth

Earth Pie

Scattered Memories 2

Scattered Memories 1

Dark Blue Sea

The Grand Little Stone 4

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