Warawut Tourawong currently holds the position of an Assistant Professor in the Faculty of Painting, Sculpture, and Graphic Arts at Silpakorn University. He began creating lifelike figurative paintings that aim to convey meaning through surface characteristics, reflecting objects that influence humans through clothing imagery and the expressions of individuals.

Faozee or Narathip Leewan (b. 1998) is a Thai contemporary artist whose visual language speaks directly to the heart. A graduate of the College of Fine Arts and later the Faculty of Fine and Applied Arts at Chulalongkorn University, Faozee discovered his love for art at a young age and has since regarded it as a “language of emotion”—a way to communicate thoughts and feelings without the need for words.

Embarking on his career in 1991 as a freelance sculpture artist, Pawarest Choksaen (Doe) (b.1970, Bangkok, Thailand) transitioned into the role of Art Director at an advertising agency in 1997. In 2019, he made the pivotal decision to resign from the advertising agency, embracing a full-time commitment to his passion as a fine artist.

In his artistic journey, Choksaen delves into the lives of those in his community, keenly observing their gestures, activities, and diverse perspectives. Through the expressive medium of acrylic paintings, his works become windows into the stories that unfold in the everyday lives of individuals within different contexts.

JiYoon Jeong practice centres on the translation of collected photographic images into painterly language, with a particular focus on their sensory and formal qualities. Found images sourced from the web serve as primary materials—not for the narratives they might suggest, but for their compositional elements. The artist is drawn to the pose, expression, and condition of the subjects captured, rather than the emotions, memories, or stories the photographs might traditionally convey.

In this context, the use of anonymous, found imagery becomes a deliberate choice, reflecting the artist’s commitment to the formal and structural aspects of painting. The application of a monochromatic palette further heightens this approach. By stripping away the original colours, the work distances itself from the photographic source, shifting the image into a realm of interpretive possibility. This intentional abstraction allows for multiple readings, embodying the artist’s belief that painting need not impose a singular narrative.

Many of the works are concluded through the act of dripping paint—a final gesture that reaffirms the painting’s identity as a tactile, expressive medium rather than a representational one. Through this method, the artist invites viewers to engage with the image not as a reproduction, but as a painterly construction, imbued with the autonomy and ambiguity that define the medium itself.

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 1983 in Taipei, the artist graduated from Taipei National University of the Arts, majoring in Fine Arts. His early works focus on portraiture through erasure and alteration, offering a personal emotional interpretation of everyday social relationships. Recently, his work has explored narrative methods and stylistic models established in various periods of art history, using classical painting techniques to piece together, simulate, and reshape images that evoke the fantastical feel of a stage play. Through the language of painting itself, he seeks to examine the tangible and intangible distances between viewer and artwork, as well as the gaps and discontinuities in Taiwan’s reception of Western art, shaped by historical and cultural contexts.

In 2008, he held his first solo exhibition, “Days Like These,” at Dynasty Gallery in Taipei. His works have received the Taiwan New Art Award, the Kaohsiung Award, and the 2005 Young Artist Award, and are part of the National Taiwan Museum of Fine Arts collection. Recent exhibitions include Taipei Art Fair, Instinc Art Space in Singapore, Eslite Gallery in Taipei, and Aki Gallery.

The artist's work invites us to pause from our busy lives and direct our attention to the whispers within our hearts. This is likely because her work, even though it is full of the small and ordinary things of life, evokes a dreamy and free-spirited feeling reminiscent of childhood memories filled with all sorts of imaginations. Furthermore, the clumsy and unadorned appearance, reminiscent of a child's, also captures attention. These rough but heartfelt feelings seem to make the entire work soft and warm. The screen is full of childlike freedom, unspoiled purity, and honesty. As if following the old saying that great skill is rather clumsy, the artist's work transcends the confines of skill and style and freely conveys the artist's heart as it is.(Min Byung-jik, Curator)

Ikumi Nakada is an artist who captures the pure emotions of childhood and inner landscapes through delicate brushstrokes, precise pencil lines, and soft color palettes. Her work often centers on children (or childlike figures), surrounded by spaces and objects rendered in dreamy and nostalgic tones. Drawing from her observations of children’s behavior, her pieces evoke both the innocence of youth and the bittersweet nostalgia of adulthood. Using oil paints and pencils, she meticulously reimagines childhood memories in pastel hues, inviting viewers to immerse themselves in their own past emotions. The children in her artworks often display serene or nonchalant expressions, appearing like remnants of forgotten feelings from adulthood. Born in Saitama Prefecture, Japan, Ikumi Nakada earned a degree in literature and art from Seijo University and later studied illustration at the Vantan Design Institute. Her works have been exhibited in various countries, including Japan, Taiwan, the United States, and China. In 2021, her piece Not Angry was auctioned at Ravenel in Taipei, achieving a final bid of $14,561.


POSE began painting graffiti in 1992 and in years since has expanded his vigorous career to include murals, commercial collaborations and exhibitions around the globe. He earned his BFA from the Kansas City Art Institute in 2004, and then turned his own graffiti education into a body of work blending a wealth of pop culture’s ready-made visual languages. Street signage, comics, newspapers and advertisements are reimagined through dissection, digitization and reconstitution, collectively immortalizing post-industrial moments for the digital age. POSE was named “One to Watch” by CNN in 2015, and has exhibited in the Museum of Contemporary Art Los Angeles, Museum of Contemporary Art Denver, Powerlong Museum Shanghai, Museum of Contemporary Art Chengdu, and Chosun Ilbo Museum of Art, Seoul, among others. His work is enjoyed in numerous private collections worldwide.


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


Sasha Yazov (b. 2000, Kaliningrad) is the young artist whose primary interest is in the gaming world. His point of reference is popular video games from the early 2000s. He uses gamepJay as an opportunity to make a screenshot of a uniquely created situation inside the game, and this becomes a painting. Using airbrush and stencils in the process, Yazov achieves a maximum likeness to the digital aesthetics, taking us back to a period of time when computer game culture was at its prime, and the internet still seemed a platform of freedom and unprecedented opportunity for everyone. 

ThankYouX is inspired by the pop tropes and bright colors of the NYC graffiti scene as well as tech innovation. He started his works from LA street stencils to paintings and sculpture exhibitions in London, LA, Miami, NYC and Hong Kong. Now using his street style in a more unique way, he has gained world wide attention for his geometric cube paintings and large scale abstract works. In 2020, he made the leap into the NFT space and now ThankYouX is bringing the physical and digital worlds together to make a unique collection of original paintings and NFTs.

Ndayé Kouagou (1992) is an artist and performer based in Paris; his practice begins with text, which is expanded upon through performance, film, textiles, sculpture and installation. Kouagou manipulates the reduced language of aphorism and aesthetics on which the digital landscape of TikTok and Instagram is built, creating immersive environments that both confront and seduce the viewer. Using screens, plexiglass, resin and aluminium, Kouagou presents the viewer with elliptical statements and open-ended, existentially leading questions, simulating a meandering dialogue that borrows from the language of online influencers and self-help. Surface and depth, humour and sincerity, clarity and confusion are granted equivalent significance in Kouagou’s work as he playfully explores the forms and effects of mediated communication.

Viriya Chotpanyavisut graduated with a Master’s degree with mention from Ecole Nationale Supérieure d’Arts Paris-Cergy in 2011. Before that Bachelor’s degree with congratulation in Visual Arts at L’Ecole supérieure de beaux-arts de Toulouse 2009 and earned Bachelor’s degree fine art photography at the Rangsit University in Bangkok 2004. Viriya is an artist whose photographic work is characterized by his ability to capture fleeting environments and imbue everyday objects with a poetic and immaterial dimension. In his photography and video, memory becomes a complex concept that goes beyond individual perspectives. Viriya’s work delves into intricate details often overlooked, presenting a silent and isolated world that encourages viewers to explore beneath the surface, fostering emotional reflection over explicit facts. He was involved in numerous international group exhibitions including: Fond d’art contemporain de Paris, France (2023), FRAC Auvergne, France (2017-2022), Silpabhirasri Creativity 19. Art centre Silpakorn University, Bangkok, Thailand (2022), Parc st leger Centre d’art contemporain, Paris (2020), Temporal Topography, MAIIAM Contemporary Art Museum, Chiang Mai, (2019), 38th Eva international, Ireland biennale (2018), Rendez-Vous 11, L’Institut d’Art Contemporain de Villeurbanne, France (2011).
Viriya has exhibited in solo shows at the Gallery N/A, Seoul, South Korea. (2022), Galerie de Multiple, Paris France (2020, 2014 & 2012), Ver Gallery, Bangkok, Thailand (2020). He is represented by the Galerie de Multiples, Paris, France & Ver Gallery, Bangkok, Thailand.

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.

In her paintings, Prae Pupityastaporn produces layered continuums of observation and memory. She draws from the overlooked minutiae of daily life, building an illusive catalogue of her material surroundings. Deftly extracting from the latent and the mundane, Pupityastaporn transforms seemingly dull objects into active deposits of evolution: a showerhead, a wall or a rock acquires mercurial ability in her works, storing shifts of the emotional and the environmental. Intertwining streams of the subconscious, Pupityasporn offers dreamlike insight into the flux and fragility of memory, both personal and shared. Most influenced by her physical environments, Pupityastaporn synthesises her experiences in Germany and Thailand. During her studies in Germany, she was exposed to reinventions of the landscape genre in the region’s early contemporary art scene; the artist has since followed her predecessors in creating a pioneering visual vocabulary, establishing a distinct approach of distanced liminality. Her paintings demonstrate the shifting possibilities of shared emotional fabrics, proving how each of our complex internal states can color perceptions of the external world. She awakens a unique set of memories and feelings in each viewer, and quietly transforms those associations once again in her practice of retrieval and repatterning.

Kim Nampyo creates realistic yet fantastical artworks. He has presented works featuring tigers emerging from the sea and zebras appearing in front of the Independence Gate, showcasing his imaginative compositions. In recent years, he has focused on realistic landscape works that prioritize on-site experiences, depicting the seas of Jeju and the Himalayan Everest mountain.
Kim Nampyo graduated from the Department of Western Painting at Seoul National University's College of Fine Arts with a B.F.A. He later received his M.F.A. from the graduate school. He has participated in over 20 solo exhibitions and more than 60 group exhibitions domestically and internationally, including "Drawing Jeju Island" (Gyoboa Art Space, 2022), "Instant Landscape – Goosebumps" (Gana Art Center, 2017), "Instant Landscape" (Gana Art New York, 2009), and "Instant Landscape" (Gallery Hyundai - Window Gallery, 2007). He has also participated in international art fairs such as Abu Dhabi (UAE), Art Central (Hong Kong), and KIAF (Seoul). He has won the Grand Prize at the National University Art Exhibition and the Gold Prize at the Creative Arts Association competition in South Korea. His works are held in collections at institutions such as the Seoul Museum of Art, the National Museum of Modern and Contemporary Art, Korea, the Seongnam Cultural Foundation, and the Suwon Art Museum.

Hyuck Jin Oh (b.1997) is a rising Korean artist whose work delves into the emotional complexity of the human experience. His distinctive approach to mixed media combines different materials with traditional pigments, creating textured, layered compositions that convey the emotional depth and warmth of life’s spectrum. Oh's art explores themes of healing, transformation, and inner balance, reflecting both the turmoil and tranquility that shape the human condition. Through his work, he captures moments of emotional struggle while offering a sense of peace—emphasizing that even in times of hardship, there is potential for personal growth and renewal.

In addition to his fine art practice, Oh actively collaborates with the music and media industries, contributing his visual work to album covers, films, and dramas. This interdisciplinary approach expands his creative reach, deepening his exploration of emotional landscapes. His exhibition in Bangkok marked an important step in his growing international presence, further establishing his unique voice in the global art scene. Through his art, Oh invites viewers to reflect on their own emotional journeys, offering a message of hope and transformation—that by confronting and overcoming adversity, one can make positive memories shine even brighter.

Yihyun Kim draws about the futility of "wish." In her paintings, the theme is revealed in intense colors, an image of the deity with the motif of "Tanghwa," and the back of the wreath. The blindness of someone's act of continuing prayers even though they guess that their prayers will not be fulfilled indicates the back of what we desperately wanted, what we wanted to avoid the most. She earned a bachelor's degree from Hongik University's Department of Metal Art & Design and Oriental Painting. Currently, she is attending the Graduate School of Oriental Painting at Hongik University.

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.

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.

Bosco Sodi is an artist working globally, known for his densely textured paintings and objects with rich and vivid colors. His paintings are crystallized forms of arduous physical application; a constant cultivation of removing any hint of his own intent in the painting and populating the surface with the essence of material and fortuitous development. The artist works with the canvas laid down horizontally, applying a viscous mixture of soil, sawdust, glue and pigment to aggregate and then left to solidify over time. This process is a performance of sorts. That performance may last up to several months, with each accumulated strata of material testimony to the artist’s actions. Eventually, in that process, the layers cleft, and that is when the performance ends. From then on, all is left to time and nature’s forces. Cracks appear naturally on the surface and traces of material transforming from the material to the substrate to the whole of the artwork - a strikingly formal experiment in painting. Sodi’s works are included in various public and private collections, such as Ishikawa Prefectural Museum of Art, Kanazawa; Harvard Art Museums, MA; Museum of Contemporary Art, Antwerp; Museum Voorlinden, Wassenaar; and the National Gallery of Victoria, Melbourne.


Artists