Mille Miglia, Italy, is where classic car racing developed to its peak. 
To the city museum of the town, vehicle painter Tomohiro Todoroki was the first Asian artist who held his solo exhibition there.Todoroki's work is also in the collection of the National Automobile Museum in Italy.
He lovingly depicts local toys that reflect local legends and beliefs and have been loved for years, with wishes for protecting people from bad luck and prosperity of offspring.

N5BRA, also known as Nobra, began his career in illustration and has since expanded into painting. His distinctive name reflects a playful and intense experience, adding logic to his fragmented identity and allowing him to freely express his way of life. His work initially focused on the human body, gradually expanding to themes of self-portraiture and existentialism.

In his artwork, the body is a crucial element. The recurring female nudes are both a primary subject and a central theme of his pieces. Some interpret these nudes as objectifying and othering the female body or as tools to reveal sexuality linked to his pseudonym. However, in reality, his nudes are a form of self-portrait. The eroticism in his works stems from human existence and the anxiety it brings.

Through his art, N5BRA poses ontological questions to the audience. These questions have transitioned into a new medium, oil painting. The thick texture and multiple layers of oil paint demonstrate the artist's process of proving his existence within the void of meaninglessness. The oil medium captures the intersection of N5BRA’s experiential life and objective perspective. This desire for self-rootedness and validation stems from his experiences of anxiety without a clear object.

The figures in his works reflect his inner turmoil as he searches for purpose and direction in life. The intertwined curves are striking, and the organic structure is not arranged with a single purpose but emerges from countless strokes and accidental elements on the canvas, creating abstract forms.

The inner anxiety and life's struggles cannot be expressed through a simple plane or a single line. The generally dark tones, deep contrasts, expressionless gazes of the figures, and undulating lines and brushstrokes suggest a long-standing anxiety submerged in calmness. The emphasized dynamism and randomness are arranged according to N5BRA’s unique sense, evoking a life of chaos and stability, harmony and imbalance, progress and stagnation.

REACH, born in 1981 and based in Kaohsiung, Taiwan, began his graffiti journey in 1995. He founded SOUL SKOOL, the first graffiti crew in Taiwan, and has worked with numerous internationally renowned brands. Early in his career, he actively participated in artist residencies and international art festivals in the US, Canada, France, Australia, the Netherlands, Japan, China and more. 


Born in 1972 in Bangkok, Thailand, Pakpoom Silaphan is a contemporary artist whose work delves into themes of globalization, mass consumerism, and the pervasive influence of cultural icons. His practice often employs found objects, such as vintage metal advertising signs and wooden Pepsi and Coca-Cola crates, collected during his time in Thailand. These objects serve as his canvas, offering a fresh reinterpretation of Pop Art reminiscent of Warhol's *Brillo Box* installations. Silaphan's work reflects on the impact of advertising and mass consumption, weaving a narrative about the infiltration of Western imagery and ideology into his artistic journey.  

Using icons such as Warhol, Dalí, and Frida Kahlo, Silaphan collages and paints over these branded surfaces, suggesting the transformation of these artists into global brands themselves. His art bridges the cultural divide between East and West, exploring the universal language of symbols and their collective imprint on human consciousness.  

Silaphan earned a Bachelor of Fine Arts from Silpakorn University in Bangkok before moving to England in 2002 to study printmaking at Camberwell College of Arts and complete a Master’s in Fine Art at Chelsea College of Arts. His work is featured in prestigious collections, including the Hiscox Collection and Sir Paul Smith’s private collection. In 2004, he was shortlisted for the John Moores Painting Prize at the Walker Art Gallery in Liverpool.  

Silaphan's art has garnered attention in significant publications such as *For Which It Stands: Americana in Contemporary Art* by Carla Sakamoto (2012) and has been featured in *The Financial Times*, *The Independent*, and *Elle* magazine. His work has been described as “a sign of the times” and hailed as reflective of “the Pop artist of these times.”  

Exhibiting internationally in London, Japan, Hong Kong, New York, Singapore, and India, Silaphan continues to make his mark on the global art scene. In May 2013, he was commissioned by the Siam Center in Bangkok for a public art installation, further cementing his influence in both local and international spheres.

Yujin Lee (b. 1986) is a visual artist and a collaborator living and working on Jeju Island, South Korea, where she also runs an experimental artist residency named Next Door to the Museum. Guided by the rural life on the island, her practice revolves around ecological thinking and relationship building.

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.

Driven by a permanent quest for innovation and meaning, Gehry has designed many major buildings over the last forty years, mainly in the United States and Europe. Notable among them is his residence in Santa Monica, which served as his manifesto, the Guggenheim Museum in Bilbao, the DZ Bank Building in Berlin, the Walt Disney Concert Hall in Los Angeles, the IAC Building and the New York Tower.  In 1989, Gehry was awarded the Pritzker Architecture Prize. At the time, the jury praised Gehry, stating: “Always open to experimentation, he has as well a sureness and maturity that resists, in the same way that Picasso did, being bound either by critical acceptance or his successes.
His buildings are juxtaposed collages of spaces and materials that make users appreciative of both the theater and the back-stage, simultaneously revealed.” In 2006, Gehry was the subject of a Sydney Pollack documentary, Sketches of Frank Gehry. Vanity Fair magazine ran a cover story labeling him “the most important architect of our age.”

Wu Wei was born in 1981, Zhengzhou, Henan Province, China. In 2012, Wu Wei graduated from the Experimental Art Department of the Central Academy of Fine Arts with a master's degree and now lives in Beijing.
He won the 6th Anniversary Award for the New Ar=sts Space Award in 2015, and won the 3rd New Star Art Fes=val Art Award in 2012. He par=cipated in interna=onal art residency in Vienna, Austria and Berlin, Germany. His works have been exhibited in Tang Contemporary Art (Beijin,Bangkok), Ipswich Museum(England), Ichihara Lakeside Museum(Japan), Power Sta=on of Art (Shanghai), Zhejiang Art Museum, Beijing Minsheng Art Museum, Art Museum of Nanjing University of the Art, Whitebox Art Center (Beijing), Blue Top Art Gallery(Chengdu), MOCA Yinchuan, Host Cloud Art Museum, The Shouter(Shanghai), Leonard Pearlstein Gallery (Philadelphia, U.S.A), Asian Library of University of Bri=sh Columbia (Vancouver, Canada), HuA Gallery (Berlin, Germany), Migrant Bird Space (Berlin, Germany), GlogauAIR(Berlin, Germany), FLUC Art Space (Vienna, Austria), Gallery SP(South Korea,Seoul) and many other art ins=tu=ons; public collec=ons includes Minsheng Modern Art Museum, The Museum of Central Academy of Fine Arts, Whitebox Art Center, Today Art Museum, Being3 Art Founda=on, White Rabbit Gallery (Australia) and other ins=tu=ons.

Hojung Kim (b.1988), on the other hand, explores the painterly and abstract potential of ceramic—a traditional craft medium—treating its curved surfaces like canvases. Through the alchemical interplay of fire, pigment, time, and touch, her works evoke what might be called a tactile vision. At the core of her practice lies the color blue—a hue symbolic of both the sea and sky, transcendence and stillness. Her moon jars and bulbous vessels carry within them the emotional depth and layered memories of time, made visible through repetition and sensitivity of touch.

Peachful, an artist and storyteller whose delicate linework evokes the warmth of childhood fairytales and offers a gentle embrace to every feeling you’ve ever ticked away.

Expanding the language of craft to an architectural scale, Lee Myungjin conceives and fabricates ceramic modules engineered with upper–lower joints. Where modules meet, lines and planes intersect; steps between verticals and horizontals accumulate into an open-ended system, and in the cadence of repetition an assured sense of architectural proportion emerges.
Built coil by coil, the clay locks together with the precision of masonry, while the finished surfaces and tones recall concrete, brick and other building materials. This approach grows from the artist’s resolve to push past studio constraints and actively recalibrate form and scale—a throughline made clear in the series Stacked Room and Column.

Lee’s works fuse craft exactitude with an architectural syntax: the poise of line and plane, the discipline of proportion and interval, producing objects where utility and figuration coexist. The module, as a primary unit, operates like the language of an architectural drawing—densely plotted lines and symbols. Yet Lee moves beyond that regimented order, continually experimenting with and substantiating new sculptural silhouettes through varied permutations of the module.


The internationally acclaimed filmmaker Park Chan-wook (b.1963) has demonstrated his passion for photography through a wide variety of media channels. Park questions himself the reason behind the act of taking a picture, leading audiences to contemplate the nature of photography as a medium. In stark contrast to the carefully orchestrated scenes in his films, his photographs readily embrace happenchance and the unexpected, while at the same time possessing incisive and wry humor coupled with powerful drama. As the artist describes his photography practice, coincidence and spontaneity play crucial roles in his photographs as an 'antidote' to his experiences in filmmaking. Park, who as a commercial film director would have most astutely trained the ability to capture the sentiment of the times in his works, provides us with the motive to proactively expand the realm of unexpected beauty within the most habitual scenes of our everyday life.

Pannaphan Yodmanee
b.1988, Thailand
Currently lives and works in Nakhon Si Thammarat, Thailand
 
Pannaphan Yodmanee combines found objects, natural elements such as rocks and minerals, and painted elements that recall traditional Thai art and architecture. The artist examines the relevance of Buddhist philosophy to our lives. Through her works, she explores Buddhist philosophy and cosmology. Utilising a combination of raw, natural materials with found objects of contemporary origin, her works imbue the painted designs and motifs endemic to traditional Thai art with the universal and persistent themes of loss, suffering, devastation, and the karmic cycles of death and rebirth. 

Pannaphan Yodmanee has widely exhibited her work and attend international art events including the She POSSIBLE International Women's Day (2023), Art collection in Soho house Bangkok (2023), PARADISE Lost BACC Bangkok(2023), Art Basel Hong Kong (2022), Art Macao (2021), 15th Lyon Contemporary Art Biennale (2019-2020), 11th Bienesse Prize, Southeast Asian, Shodoshima Island, Japan (2019), The 9th Asia Pacific Triennial of Contemporary Art (APT9), Gagoma, Australia (2018), The 1st Bangkok Art Biennale (2018), TIME LAPSE, Tang Contemporary Art Gallery, Beijing, China (2018), An Atlas of Mirrors, Singapore Biennale 2016, Singapore Art Museum, Singapore (2016), Thailand Eye, Saatchi Gallery, London, UK (2015), Myth/History II: Shanghai Galaxy, Yuz Museum, Shanghai, China (2015) and Thai Charisma: Heritage + Creative Power, Bangkok Art and Culture Centre, Bangkok (2014)

Her received numerous awards such as 1st Prize, Bualuang Gold Medal, The 35th Thai Traditional Painting Awards (2013), as well as the 1st Prize of the 1st and the 2nd Young Thai Artist Awards (2006, 2007). In 2016, Pannaphan Yodmanee also won the prestigious 11th Benesse Prize.


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. 

Greg Haberny is an American artist and filmmaker based in New York. Haberny's artist residencies include The Fountainhead Residency and McColl Center for Art + Innovation. In 2016, Haberny held an exhibition called 'Py•r•o·glyph•s' at the Catinca Tabacaru Gallery in New York. His works for this exhibition were based on the process of burning his old artworks and creating new ones from the ashes.

Pulrim, through the Pulbada series, explores the way nature manifests as individual entities within the urban landscape. In Pulrim’s works, artificially constructed patterns come together to form seemingly natural sceneries, reflecting our fragmented perception of nature in the city. The sense of tranquility found in these constructed landscapes—could it be a learned comfort rather than an innate one?
By juxtaposing concrete images of nature with abstract, manufactured patterns reminiscent of foliage, Pulrim raises questions about the "naturalness" we so readily accept in urban environments. Fragmented memories of landscapes are reassembled on the canvas, forming an entirely new garden that does not exist in reality—yet feels deeply familiar. This process mirrors the continual formation and reconstruction of nature within the city.
Pulrim’s landscapes are not unfamiliar. They echo scenes we have all encountered, yet never quite in this way. Through these works, viewers are invited to reconsider their daily encounters with urban nature and ask themselves: 

"Is this truly nature?"

ERTHH
b. 2000, Bangkok, Thailand

Thanathorn Phattarathada, better known as ERTHH, graduated from the Faculty of Decorative Arts at Silpakorn University in 2022.
ERTHH is inspired by Thai master, Prateep Kochabua, known for his surrealist paintings, as well as inspired by his study and interest in Carravagio’s use of light and shadow, frequently experimenting with techniques of chiaroscuro.  He practiced still life compositions and then gradually started to integrate elements of his upbringing and passion for cartoons and illustrations, eventually forming his unique style and canvases.
Young and energetic, while exuding an air of maturity beyond his age, ERTHH creates pop surrealist paintings with a fresh take, illustrating a character that reflects on his own learning experiences.  Though the boy “Cheek” is expressed in a calm and quiet manner, he represents both the artist's highs and lows.  Beneath each detail is a story that is waiting to be unfolded.

Theresia Venance Massawe (Theresia M.) is a Tanzanian painter who believes creativity promotes healing. Drawing from cartoons in local newspapers and animated films as a child, and the organic shapes in her surroundings, led her to pursue painting.
Her distinctive style has drawn numerous art enthusiasts from various backgrounds. In March 2022, she presented in a group exhibition "An Ode to Women" at Rangi Gallery, where she had previously participated in the Ashley Collins Workshop. In July 2022, she also took part in an exhibition at the American Ambassador’s residence in Tanzania, the Torrent Exhibition at Nafasi Art Space in 2023, and Women Artist Art Week exhibition at Rangi gallery.
She has also recently had her solo exhibition “ALL ROADS LEAD HERE” at the Dar es Salaam center for architectural heritage.

LEE Jeongbae (b. 1974) creates works that mirror the image of nature among the city's landscapes, which are privatized and tailored to conform to human needs and desires. Prior to this, the artist experimented with various mediums, including painting, photography, video, and installation. In 2016, LEE began to take an interest in representing deteriorating landscapes that had gradually lost all original meaning through the encroachment of capitalism. These segmented images, which become objets, each act as a landscape that portrays various scenes from nature. LEE Jeongbae's works, which examine the daily life of the city, capture fragments of mountains, rivers, and the sky that peer through the cityscape. These images are separated by geometric forms and expressed through the use of artificial materials such as FRP and aluminum panels. Nature, which has been torn apart by capitalism and materiality, is recomposed by LEE into atypical forms and painted over with color. Completed through a delicate process of painting the surface of the sculpture hundreds of times, these works represent new abstract landscapes expressed through LEE's perspective.
 
Since LEE Jeongbae's first solo exhibition at Munhwa Ilbo Gallery (Seoul, Korea) in 2005, he has shown at Artside Gallery (Seoul, Korea); Window Gallery at Gallery Hyundai (Seoul, Korea); 16 Bungee at Gallery Hyundai (Seoul, Korea); Seodaemun Prison History Hall (Seoul, Korea); Pibi Gallery (Seoul, Korea); Goodspace Gallery (Seoul, Korea); and the Seoul Metropolitan Government (Seoul, Korea). LEE has also participated in various group exhibitions at the Busan Museum of Art (Busan, Korea); Korean Cultural Center in Brussels (Brussels, Belgium); Buk-Seoul Museum of Art (Seoul, Korea); Seoul Olympic Museum of Art (Seoul, Korea); Arario Gallery (Seoul, Korea); CAN Foundation (Seoul, Korea); Whanki Museum (Seoul, Korea), and more. In 2011, LEE was awarded the "JoongAng Fine Arts Prize," organized by the Seoul Arts Center (Seoul, Korea). His works are included in many significant collections such as MMCA, National Museum of Modern and Contemporary Art (Seoul, Korea); Seoul Museum of Art (Seoul, Korea); Arario Museum (Seoul, Korea); Joongang Ilbo (Seoul, Korea); CAN Foundation (Seoul, Korea); Whanki Museum (Seoul, Korea); and ART OMI Collection (New York, USA).

Sculptor, performer, photographer, architect, curator and blogger, he is known internationally for his provocative and political art. He is an opposition figure to the Chinese government and an emblem of freedom of expression in China, openly criticizing the Chinese government’s position on democracy and human rights. Ai was among the first generation of students to study abroad following China’s reform in 1980, and lived in the United States from 1981 to 1993, attending the Arts Students League of New York, the University of Pennsylvania and the University of California, Berkeley.

Daniel Lergon (b.1978, Bonn) is a German artist who experiments with Jight effects and chemical reactions, exploring optics and perception. He began his inquiries into color, the interaction of Jight on different surfaces and optical effects. Lergon has been working with fabrics of different optical and physical qualities, to which he applies lacquers and transparent varnishes to produce a broad range of effects that vary with the position of the viewer. In his early works, Lergon used color pigments within the range of the color spectrum, applying them to all kinds of material surfaces. In later work, while using transparent varnishes and synthetic, retro reflective fabric as painting surface {which reflects the light in the same direction from which it comes), he also includes colors at the very extremes of the spectrum into his work. His intensive study of the colors was thus always tied to the materiality of the painting's ground and the question regarding this influence this would have on the viewer's perception.

Soyoung Jeon brings onto the canvas plants she has grown and tended herself, as well as subjects and landscapes encountered repeatedly over days of daily walks. For her, “to see” is not merely to register visual information, but to engage in a synesthetic experience accompanied by the texture of surfaces, the volume of air, and even the scent of the wind. Through the accumulation of such sensations, she turns her attention to the layers of time formed in relation to her subjects, that is, to “relationship.” The beings she has met again and again, listening closely to what they seem to say, are often small, fragile, and easily overlooked. Yet she believes that these ordinary and delicate presences ultimately sustain herself, the world, and one another. The plants in her paintings are not simple representations of nature, but traces of relationships built over time and spaces in which the sensation of “aliveness” is quietly questioned.
She reflects on the idea that to be alive also implies moving toward death. Just as blooming and withering coexist within a single plant, her paintings hold together states of emergence and disappearance. Infusing the picture plane with the sensibilities she has learned through nature, she continues painting as a gesture of closely touching the world.

Artists