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


yyth works with the aim of confronting the essential reality of the object. She treats painting as a tool for approaching the object tangibly and through it towards a series of acts such as forgetting, research, understanding, and appreciation. In her practice, she collects multifaceted images that she considers to be products of the times, and then fragments and reconstructs them in an editorial manner to fill the canvas. The images utilized in her work are often contemporaneous with the objects she tries to confront through her paintings, which is why her screens are reminiscent of manga and anime that appeared in the 8th and 90s.

n the paintings of Son Jung-gi (b. 1991), nature unfolds as a space of overwhelming scale. A single small figure within the vast landscape reveals how minute human existence can be, and yet how profoundly one is able to contemplate within such quietude. In his works, the viewer encounters an expansion of the inner self through the stillness that nature affords.

Shin Junmin (b. 1985) majored in painting at the College of Fine Arts and the graduate school of Yeungnam University. As a "walker" in everyday life, he has developed a deep interest in the various forms of light, both natural and artificial. His work focuses on visualizing intangible elements such as the day's wind, air, temperature, and sound, all of which contribute to his exploration of light in his paintings.

He has held a total of 10 solo exhibitions to date, including White Out (2024, Pipe Gallery), White Shadow (2024, Artspace Purl), and New Light (2022, Boan Yeogwan 1942). His notable awards include being named Young Artist of the Year (2015, Daegu Culture and Arts Center), Suseong Emerging Artist (2017, Suseong Artpia), Young Artist Support Program (2018-2019, Daegu Foundation for Culture), Ha Jung-woong Young Artist (2019, Gwangju Museum of Art), and First Career Support for Young Artists (2022, Korea Arts Council).

Anya Paintsil (b. 1993) is a London-based textile artist of Welsh and Ghanaian descent.
Combining traditional hand rug making techniques with Afro hair styling methods, Paintsil’s practice is largely autobiographical. She takes inspiration from her childhood, family stories, and Welsh and Ghanaian mythologies, while exploring identity and gendered labour. Paintsil seeks to promote artistic practices historically devalued due to their associations with femininity and other marginalised groups.

Heejae Lim visualizes situations infused with the desire to touch and possess the essence of ‘Nature’. 
The subjects she deals with, much like the taxidermies in a natural history museum, assume nature to be complete and vivid. In this regard, she discovers a resemblance between the human desire for nature and her own desire for image as a painter. She visualizes the connection between those two dilemmas by focusing on the surfaces that mediate these desires rather than the direct subjects, creating a peculiar texture and depth in her work. Her major solo exhibitions include "Nesting" (Space ONSU, 2023) and "Cabinet of Curiosity" (Lee Eugean Gallery, 2022). She has also participated in numerous group exhibitions such as "Bright Room" (Every Art, 2023), "Inflating World" (Drawing Room, 2020), and "COCOON 2020" (Space K, 2020).


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.

Born in 1980 in Bangkok, ubatsat (pseudonym) earns a bachelor degree in Visual Arts and a master degree in Philosophy and Religion from Chiang Mai university. 

ubatsat is an artist and social activist. As a research-based artist, ubatsat creates artwork that narrates situations where people are under pressure or in crisis.  His art practice includes collaboration with communities such as farmers, craftsmen, musicians, cooks, and specialists in particular field. Through his art, he creates a platform or an artistic situation that enables collaboration with different stakeholders.  ubatsat’s multidisciplinary art includes painting, sculpture, printing and site-specific work. 

Ku, Ja-Young(1969) studied B.F.A and M.F.A Painting at Seoul National University and received MFA, New Forms at Pratt Institute in NY, USA. The artist has worked as a visiting artist at Brigham Young University in Utah in 2001, Afterward being at Art Omi International Artist’s Residency in Omi, New York in 2001, by establishing himself as an international artist. Ku was invited to numerous solo exhibitions and group exhibitions at prominent art museums and galleries in the world, including Witworth Art Gallery, Manchester, England; Arts Center Nabi, Korea; Carrillo Gil Museum, Mexico
City, Mexico and Krakow Triennial Print Exhibition, Krakow, Poland.

Kitty Kaburo (b. 1987) is a Filipino artist of Korean descent. She works with various traditional and non-traditional mediums, incorporating each of their peculiar properties to simulate transformations and effects of time, the elements and human activity on our environments, communities and planet. Shegraduated from the University of the Philippines’ College of Fine Arts in 2015, receiving an Outstanding Thesis award and a series of videos has been shortlisted for the Ateneo Art Awards in 2017. Aside from the Philippines, she has also exhibited in varied locations, including Indonesia, Taiwan and South Korea.

Taesoo Lee is a Korean sculptor known for creating heavy-looking objects using lightweight materials. His work explores the gap between perception and reality by crafting hyper-realistic sculptures of boulders and steel beams that visually defy gravity. Through optical illusion and material deception, Lee challenges viewers’ assumptions and offers a playful yet thought-provoking commentary on how we perceive the world.

Shigeki Matsuyama is a Japanese contemporary artist. His work was shaped by his early career as an illustrator and his philosophical reflections following the 2011 Great East Japan Earthquake. He has since pursued a more conceptual art practice, reinterpreting through his work the impact of modern society's consumerism, pop culture, media, and technology on the human experience. His works provide visual play through the use of repetitive patterns and intense colors, and he is expanding his artistic expression through various media,
including not only painting but also objects and installations.

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.’

Attempts to interpret the image of flowers as a visual language of emotion, exploring the theme of “recording emotions through flowers.”

Dohyun Kim has visually expressed internal rest, recovery, and stability on the canvas. He fills the canvas with irregular patterns of cardboard shaped in flat waves and colors it with stable hues reminiscent of nature, abstractly visualizing the human inner realm. Within the screen constructed of repeated lines and gaps, and within the rhythm of layered and filled colors, he builds the order of spontaneously emerging forms, colors, and spaces.

Adam Bazlik is a cross‑media artist and creative director whose work spans branding, fashion, motion graphics, and designer art toys, blurring the boundaries between design, storytelling, and crafted visual identity.

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.

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. 

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.

Human and Waves

SUGAR CANDY MOUNTAIN #11

Romantic white grave

Through the Forest

A Journey Into Uncertainty

A Forest that Asks Nothing

Winter Forest

Toward Silence

The Way of Silence

Beyond Uncertainty

Walking Alone

To the Distant Wood

Paths

Thorn Tree

Flood Lighting

Light Flower

Bird

White Flower

Light Forest

Waves

Wind Tree

White Light

Whiter Flower

Tonight We Dine on Lambs and Baby Chickens (II)

Tonight We Dine on Lambs and Baby Chickens (I)

Your Worst Sin Is That You’ve Destroyed and Betrayed Yourself for Nothing

Study for S/CWS 520

The End of One’s Gaze 3

Face

Fall Asleep

Empty Frame

A Shell Grave 2

A Shell Grave 1

A Pile of Shells 2

A List of Things

The Scientist's room

Show Window

A Piece of light

Night view

Weird space 1

Great void

Broken sign

Flexible frame

Heart

Heart 2

Melting Santa

Green Beans

Outside of Lights 1

Beyond the Fingertips

Place of Gaze

Outside of Light 2

Impression

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

Affect

Image of an image

Butterfly Shadows Over the House

Two Wrapped Offerings

The End of One’s Gaze 2

The Coral and The Conch

Melting Statue

Flesh 1

Mobile

A Shell Grave 3

A Perfectly Ordinary Scene

OUTER SPACE EXPLORATION KIT

Expression

A Pyre in Flames

Crumpled paper

Hallucinatory hero

100 Keys

Flesh 3

Overload Image

The Sinking Glass

Ghost Flowers

Flesh 2

ฝั่ง (Fang) : Shore (Blue)

ผา (pha) : Cliff (Blue)

หาด (Haad) : Beach (Blue)

หลง (Hlong) : Shallow pond (Blue)

แจ๋ม (Jaem) : Promontory (Blue)

กว๊าน (Kwan) : Lake (Blue)

คก (Khok) : Mortar pit (Blue)

ดอน (Don) : Upland (Blue)

ร้อง (Rong) : Watercourse (Blue)

หนอง (Nhong) : Lagoon (Blue)

ห้วย (Huai) : Pow (Blue)

ผา (pha) : Cliff (Green)

คก (Khok) : Mortar pit (Green)

ดอน (Don) : Upland (Green)

หาด (Haad) : Beach (Green)

ร้อง (Rong) : Watercourse (Green)

หลง (Hlong) : Shallow pond (Green)

หนอง (Nhong) : Lagoon (Green)

แจ๋ม (Jaem) : Promontory (Green)

ห้วย (Huai) : Pow (Green)

ฝั่ง (Fang) : Shore (Green)

กว๊าน (Kwan) : Lake (Green)

Twin Fates

Lilac Girls

D-Stone 05

D-Stone 04

Stone Composition 006

D-Stone 12

D-Stone 11

D-Stone 10

D-Stone 03

D-Stone 02

D-Stone 01

D-Stone 09

D-Stone 08

D-Stone 07

D-Stone 06

Portrait of dazzle #279

Portrait of dazzle #270

Portrait of dazzle #260

Portrait of dazzle AH #245

Portrait of dazzle AH(bot) #250

Portrait of dazzle #264

Portrait of dazzle #265

Portrait of dazzle #263

Portrait of dazzle #262

Portrait of dazzle #301

Portrait of dazzle AH #285

Portrait of dazzle(bot) #228 AI-generated eyes

Portrait of dazzle #235

Self-portrait for multiple accounts #08

Golden Jade Garden

Blues

No01

Composition pattern No02

Composition No19

Trojam Horse X

Bloom12

No Tears Left 5cm 2

The Blue Water Bubbles

The Water Fins

Becomes Water

The Spirit of The Sea

The Time of Water

The Drops of Love

When two people encounter each other, the past and the future become unimportant

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