Sono Moon explores the concept that nothing truly disappears; instead, things transform and endure in different forms. Her work is a poetic investigation into the "geometry of memory" and the "physicality of time."

Through her signature character, Hornelle—a being as small as a sugar cube—the artist reimagines vintage objects not merely as relics, but as expansive rooms and entire universes. For Moon, painting is the act of gifting a "room" to the viewer—a sanctuary where one can quietly linger amidst the joys and sorrows of life.

Her practice is divided into two distinct yet interconnected realms: Narrative Figuration and Material Abstraction.

In her figurative works, Moon utilizes the "Marie Antoinette Palette." These faded pastels and remnants of gold serve as a linguistic tool to bridge the atmosphere of the past with the present. Through this palette, Hornelle navigates a "Kingdom of Time," where memory fragments have solidified into a world of their own.

In contrast, her abstract works manifest time as physical substance. Using aged letters, vintage books, and historical documents—materials once saturated with human records—Moon deconstructs and layers them into architectural structures. This process is less about manipulating materials and more about the "architecture of time," where the layers, gaps, and eroded surfaces of paper reveal the traces of existence.

Ultimately, Moon’s work converges into a single, profound question: "What do we leave behind?" In her world, while we may eventually disappear, we remain through the unique spaces and stories we build.

Sung Neung Kyung (b. 1944-) is a prominent Korean conceptual artist whose works embracing nontraditional mediums such as newspaper, photography, and performance broke the ground for experimental art in Korea. Sung debuted in Korea’s art scene in 1973 as a member of the avant-garde art group ST. Until the late 1980s, he showcased newspaper-related installations and performances challenging government censorship of the media and the press’ misuse of editorial power. Also, he was among the first artists in Korea to use photography in the context of fine art in the 1970s. 

Sung Neung Kyung’s daily practice of art has escaped critical notice, yet like the mosquito he has been active for much longer and his influence is felt more widely than many realize. Sung’s conceptual actions, documented through photographs and performance artifacts, reflect his decades-long interest in everyday moments of exchange between people in a social context. The exhibition “Contraction / Expansion” reflects the artist’s ongoing interest in daily actions that become iconic when isolated within the context of the art work. “Contraction is what the people in power wanted and expansion is what the people under control wanted,” Sung explains. These small gestures create a “mosquito noise” by activating everyday elements of behavior into a resonant, politically charged buzz. 

Born in Tehran, Iran in 1972, Golnaz Fathi is an influential member of a currently thriving generation of artists to surface in Iran over the last twenty years.
Fathi investigated ever more abstract forms of representation, using modern media to aid these explorations, while still basing her work on fundamental calligraphic practices and techniques. The introduction of bold swatches of colour further emphasised her transition from a codified system based on prescriptive rules to an alternative idiom that gave precedence to her own imaginative modes of subjective expression.

Latthapon Korkiatarkul creates minimal works of powerful subtlety, using abstraction as grounds for fluid subversion and projection.  The artist’s process completely detaches from the conventional structures of drawing, painting, and sculpture: supporting elements such as walls or pedestals become the focal crux of pieces, as do humble materials like graphite and paper. Similarly, the artist distils and reverses sequences of production, at times painting on the reverse of canvases or soaking paper in oil before turning to colour. He negates compositional hierarchy and grandeur, even including seemingly inconsequential remnants from his methodology: the works reveal stray traces of paintbrush hair, cat fur, pencil shavings and dust, and the artist even imagines the light and wind in his studio as  factors behind his visual language. Embracing the totality of his artistic process, Korkiatarkul constantly negotiates the human conceptions of value within and even beyond art. Through laborious transformation and redefinition, he meticulously questions the social construction of objects. The artist quietly calls for introspection in presenting such signature visual voids. As if existing in a vacuum of thought, Korkiatarkul renounces any complex contextual baggage, summoning his viewers to instil their personal quests for knowledge and liberation onto each of his works.

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. 


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.

Dain Lim captures the feeling of rest through sensory experiences in peaceful spaces, focusing on her "Window" series.

Yohei Yama is drawn to elemental energies and his hypnotic works lay claim to the
transcendent power of art to heal, or to atone. From the paralyzing aftermath of the 2011
nuclear disaster in Fukushima sprang the essential motifs that characterize his work – little
trees, rays of light and swirling winds bridge and rebuild the bond between the artist and
nature.

Jo Jae, an artist based in Seoul, is fundamentally interested in the concept of "space" — a place created, inhabited, and sometimes demolished by humans. A space itself symbolizes the people who occupy it, and its inhabitants inevitably leave traces of themselves. These traces can become important clues, sparking intense curiosity. Driven by this curiosity, Jo Jae crafts stories with images based on these clues. Her work spans photography, installations, and even design, but she sees no difference between these acts. Photography, as the flat print of tangible objects, conveys an ethereal subject matter, allowing the relationship between images and stories to leave room for imagination. This is why photographic media currently remains her most preferred medium.
Jo Jae’s work begins in the virtual realm. Since 2020, she has been translating the intersection between digital images and their original counterparts into a sculptural form. By visualizing the gap between digital images and the unprocessed originals, she aims to establish a new sense that bridges the virtual and the real worlds.

The abstract paintings of Hyunjung Park show the process of a response to the new visual world we experience in the twenty-first century. The artist, who majored in Fine Art at Hongik University, has a long history of collecting images of minerals, geological formations, and textures. Since the attitude of collecting and consuming images online influences contemporary art, she is continuously asking concerns about the process of creating arts and she is using graphic technologies to construct the overall layer of her works. By using geometric colour schemes and disciplined brushstrokes, Hyunjung Park creates a new painting universe in which individual objects achieve a tight equilibrium through tension. 

I Kyoung Ha begins with landscapes encountered in everyday life and on her travels, quietly drawing out the “traces of time and emotion” that remain in moments easy to overlook. Rather than rushing to define what she sees, she holds the scene in a sustained, contemplative gaze, then translates the subtle movements of the heart into paint. In her work, calmness takes precedence over drama; by withholding exaggerated emotional peaks, she allows a gentler resonance to surface—one that offers viewers a soft, lingering consolation.

What matters in her practice is less “what is depicted” than “how one stays with the scene.” Different affects—warmth and ease, or solitude and faint melancholy—interlock quietly within a single frame, inviting viewers to encounter their own memories and emotions without strain. I Kyoung Ha favors subdued chroma and controlled value, building density through a traditional painterly process that often begins with a dark underpainting and gradually shifts from shadow toward light. Through this method, she constructs an inner temperature and temporal depth that extend beyond the image on the surface.

Having earned a BFA in Painting from Hongik University and completed coursework in Special Video & Graphic Design at Sogang University’s Graduate School of Mass Communication, I Kyoung Ha has consistently expanded an attitude of “looking” and “staying”—as suggested by series titles such as Gaze of Stillness (2024), A Looking Heart (2023), and Quietly Swaying (2022). Across her exhibitions, she continues to refine a visual language that does not insist, but remains—so that time, feeling, and silence can be held with care.

Kittisak Thapkoa was born in 1989. He graduated from faculty of fine arts, Silpakorn University. He expresses the story in terms of realization and awareness of morality. Buddhism is the religion that teaches humans to be able to perceive the truth of the world. Humans cannot get away from birth, aging, suffering and death. 

He has participated in group exhibitions both in Thailand and abroad(USA). He even received the art awards from Toshiba “Brings good things to life” art competition in 2005, 2007 and 2011. The second award National arts by Bangkok bank and the winner of Bualuang 101 art contest in 2012. Moreover he is accepted from global collectors, Art state Singapore in 2016, Art state Jakarta in 2017, and Art expo Malaysia in 2018.

Cildo Meireles creates complex installations and sculptures that entice the viewer and challenge political, philosophical, and aesthetic precepts. Meireles’s artistic practice was shaped by the social and political conditions during the dictatorship of Brazil in the 1960s and ‘70s, and by the Neo-Concretism and avant-garde movements. Like his predecessors, Meireles merges physical, cerebral, and sensorial elements in works that elicit audience participation.  While Meireles’s works are often created in response to specific political events and situations, they evoke universal themes that are communicated through the viewer’s experience in a shared, rigorously designed and defined space.
Meireles’s work has been exhibited internationally, including the Biennales of Venice, Italy (1976, 2003, 2005, 2009); São Paulo, Brazil (1981, 1989, 1998, 2010); Documenta, Germany (1992, 2002); and Istanbul, Turkey (2003, 2015). The artist has been the subject of several large-scale and traveling solo exhibitions at renowned institutions, including Sesc Pompeia, Sao Paulo, Brazil (2019); Centro Nacional de Arte Contemporaneo Cerrillos, Cerrillos, Chile (2019); Fundação de Serralves, Portugal (2014) HangarBicocca, Milan, Italy (2014); Museo Nacional Centro de Arte Reina Sofía, Spain (2013); Museu d’Art Contemporani de Barcelona, Spain (2010); Museo Universitario Arte Contemporáneo, Mexico (2010) and Tate Modern, England (2008).

Goyona Jung is interested in the contemporary demand for exposure on social networks and image formation in human relationships via the Internet. She attempted to collaborate with media and painting after graduating from Hongik University with a degree in Painting. She worked in Korea as “Live Cam Painting”, which offers not only personal daily memories but also other people's daily lives in real time with the audience, and she has expanded her activities abroad to include a number of exhibitions. Through her works, the artist conveys a message about the issues of modern society and raises questions about the gap between modern people's loneliness and their edited daily lives. 

Jinjoo Ku is a painter who captures the recurring patterns of nature and the shifting processes of emotion on canvas, exploring through two bodies of work the point at which phenomena of vastly different scales converge on a single underlying principle.

Slow Diffusion draws on the chemistry of recrystallization, in which pure crystals are gradually separated from an impure substance, extending this as a metaphor for the purification of emotion. A longtime observer of the sea, Ku turns toward the moments when cold and fearful feelings begin to seep in, rendering through stillness and a recalibration of inner temperature the crystallization that unfolds within. Fractus expands this gaze to the macroscopic structures of nature, translating the fractal self-similarity found in the branching of trees, the coursing of rivers, the layered edges of clouds and the contours of mountain ranges into a metaphor for the complex networks of life and human connection, as the artist attends to the way individual moments weave tightly together to complete a single coherent narrative.

Running through both series is the belief that instability and stability, disorder and order, ultimately complete each other within a single cycle. Through painting, Ku reveals that the crystallization of emotion and the fractals of nature, though seemingly operating at entirely different scales, are governed by the same principle, inviting viewers to reflect on the repetitions and connections woven through their own lives.

Im Jaehyoung collects images of personal and social loss and explores them in various ways, linking the concept of 'disappearance' with the act of painting. Through his paintings, he creates a unique visual distance, addressing the psychological and ethical distances associated with absence.

Kitti Narod trained at Wi`ayalai Pohchang Art College, Bangkok, from 1996 - 1998, and later obtained his Bachelor of Arts degree from the Rajamonkong Ins=tute of Technology in 2000. He has exhibited extensively both domes=cally and interna=onally, including in Singapore, London, Bath, Edinburgh, Manchester, Dublin, Cork, Montreal, and Melbourne.
Ki} Narod creates pain=ngs that convey a sense of joy and op=mism through gentle and warm portrayals of daily life and human rela=onships. In his pain=ngs, everyone and everything exist together in a utopia. This no=on may seem unrealis=c to some, especially during an era of social division, but the ar=st’s work tries to remind us to appreciate the simple pleasures and raise a`en=on to everyday mundane ma`ers. In which, euphoric feelings will not seem so una`ainable. The ar=st considers his works to be an intersec=on for diversity, where all the physical and spiritual are equal.
Ki} Narod’s recent solo exhibi=ons include “Summer Wind”, Tang Contemporary Art (Hong Kong Sar, China, 2022; “Fragrant City: Ki} Narod Solo Exhibi=on”, Tang Contemporary Art, Bangkok (Thailand, 2021); “Roles in Life”, We Gallery, Shenzhen (China, 2020); “Joy Land”, Tang Contemporary Art, Bangkok (Thailand, 2020); “Ki} Narod Exhibi=on by O‘logy”, PPP, Taipei, Taiwan (China, 2019). Recent group exhibi=ons include “Falling”, Tang Contemporary Art, Beijing (China, 2022); “The Space Between Us II” at ICONSIAM, Tang Contemporary Art, Bangkok (Thailand, 2021); “The Space Between Us I” at ICONSIAM, Tang Contemporary Art, Bangkok (Thailand, 2020); “A Silent Voice”, Tang Contemporary Art, Bangkok (Thailand, 2020); “Spectrosynthesis II - Exposure of Tolerance: LGBTQ in Southeast Asia”, Bangkok Art and Culture Centre (BACC), Bangkok (Thailand, 2019).

I track the countless emotions felt in everyday life and stage witty scenes with my own lovable characters.
The characters appearing in my work draw inspiration from the animated characters I mainly watched during childhood.
The backgrounds and overall atmosphere in the paintings embody the sensibility formed from living for a long time in a large extended family in the countryside during my early years, creating a pastoral, idyllic mood within the works.
To make the figures’ forms and facial expressions feel both ambiguous and yet clearly convey emotion, I use the dry brushstrokes of ink.
To express rough, textured brush marks, I sometimes create my own brushes directly from natural materials such as hardened brushes, reed grass, and dried flowers.
To delicately capture the strength and nuance of the brushstrokes, I put great effort into the preparation of the canvas surface.
To achieve an extremely smooth, paper-like texture, I apply my own researched materials as a base layer, then repeatedly sand it by hand with sandpaper and a grinder.
By applying and sanding more than 30 times, a very fine, paper-like foundation is completed—this process is based on the plate preparation technique used in copperplate etching (intaglio).
Ultimately, through the encounter between the bold, dry ink brushstrokes made with hardened brushes and the acrylic coloring, I create a unique formative beauty.
Through my work, I hope to help viewers recall emotions they had forgotten, and to make the feelings they never want to forget become even more vivid and clear in their hearts.

River City Bangkok, in collaboration with the Embassy of Mexico in Thailand, presents “Unportraited”, a solo exhibition by the renowned Mexican artist Diego Rodarte. Known for his experimental and boundary-pushing painting practice, Rodarte brings to Bangkok a provocative new body of work that reimagines portraiture for the contemporary gaze.

Shuto Okayasu’s work explores the dual nature of the same thing; strange and beautiful, real and imagined, loud and quiet, chaos and harmony. Through the process of art marking, what he considers as an endless practice of recording and rebuilding, he lets his mind travel freely between the two worlds; offline and online, the present and the dream, and the past and the future. In Okayasu’s work, a complicated foreground with a crowd of vivid colors creates contrast with a simple and smooth background. Yet, they harmonize with each other in a consistent lonely quiet mood. Influenced by the sampling technique of hip hop, Okayasu chooses from what he caught visually and auditory in everyday life and his culture; Japanese Edo painting, anime, and cartoon, and combines their essence on canvas to appreciate and represent the world where he belongs to. His world is decadent and surreal, but at the same time, it is true to the actual world in some way and leaves us with hope.

Winter Gyeoul Kim graduated from B.F.A. Fine Arts, School of Visual Art(New York, USA) and received her M.F.A. in the Department of Fine Arts at the Korean National University of Arts. In 2018, she held her first solo exhibition Herts at Weekend, and the second solo exhibition As if Singing at Your Own Pace(PS Sarubia, Seoul) was held in 2022. She has participated in several group exhibitions including Memory Beneath the Ego, Fantasy Above The Ego(2023, Seoul National University Museum of Art, Seoul), Only Indelible Good Left(2023, SPACE SO, Seoul), Landscape and Abstraction(2022, Kyobo Art Space, Seoul), I, Etcetera(2020, Hite Collection, Seoul), and One seeing this also thinks that(2019, Artspace 3, Seoul). She has participated in DOOSAN Gallery International Residency - ISCP(2024, New York) and The 14th Resident Artists programme at Seoul Art Space Geumcheon(2023, Seoul).

Nonsenso works to fill gaps in space. She connects the world inside and outside by projecting floating memories. By collecting floating emotions, overlapping faces, and dispersing colours, the artist tries to communicate with the audience about herself. She is inspired by objects in the world that make up daily life, such as forests, trees, and nights, and shapes them through collage techniques to capture the results she senses while looking at them with a clear gaze. 

Le Phi Long (b.1988) is a visual artist based in Ho Chi Minh City and Dalat, Vietnam. He
graduated in interior design at Hue Fine Art University in 2012. Long’s practices include paintings,
site-specific art and conceptual objects. His practice is based on the study of the historical and
geographical origins of humans, intervention in the cultural shift and the effects in the community,
especially his generation.
Long feels that his generation lacks knowledge of Vietnamese history. Local materials and teaching
documents about this matter are incomplete, and this has impacted the way his generation identify
themselves, their journey of self-development and the connection to the international community.
Long is eager to search and compare local and international materials to close the knowledge
gap. Since 2016 Long has been focusing on the Dong Duong Lang Du project, which examines
French Indochina archives (late 19th and early 20th centuries) to explain the concern in the issue
of generation transmission in Vietnam.
Long co-founded the artist residency eNAME Art Center in Hanoi (2012) and MOIland, an art
center in Dalat (2017). He took part in residencies at Sàn Art in Vietnam (2013), the Bamboo
Curtain Studio in Taiwan (2015), Asian Highway Project in Korea (2018) and the Cité
Internationale des Arts in Paris (2020). Phi Long has exhibited and taken part in programs in the
UK, USA, Belgium, Portugal, France, Korea, Taiwan, Thailand and Vietnam.