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).

Heejoon Lee creates abstract paintings from images of the natural world. In 2012, he earned a bachelor's degree in Fine Arts and Sculpture from Hongik University, and a master's degree in Fine Art from the University of Glasgow School of Art in 2014. In this way, the artist collects, edits, and brushes the accumulated experiences and daily images obtained from travels from close surrounding to distinct locations, and incorporated them into geometric shapes. The composed instant images add the texture and time of the accumulated paint to generate a new space on the canvas. In addition to the photo collage and thick matière geometric shapes in <The Tourist> in 2020, the artist shifts his focus from minor objects to the surrounding landscape and extends the visual experience beyond abstract painting to the experience of space in which architecture and painting coexist.

Joan Miro was a Catalan artist born in Barcelona in 1893. A painter, sculptor, engraver, and ceramist, Joan Miro was one of the main representatives of the Surrealist movement, marked by the exuberant character of his native province. In the beginning, he showed strong Fauvist, Cubist, and Expressionist influences before evolving towards a flat painting marked by a certain naivety and then sliding towards a more dreamlike work in a Surrealist spirit. From 1923 onwards, he created a style free of cubism in which a fantastic universe populated by strange symbols and geometric forms was born from his imagination. Miro tends towards an original combination of sometimes disturbing and sometimes joyful elements that plunge into the unconscious, the imagination, and poetry. His world is often magical and strange. Over time, his paintings become more abstract and the forms more organic, even though a theme is always recognizable.


Born in 1981 Gifu, and raised in Aichi, Japan. At the age of twenty, he moved to California, U.S.A. to pursue an art career. He spent four years in the Bay area doing live painting, mural and participating in both solo exhibitions and art events. While living in San Francisco, he discovered a small group of avid bicyclists and became a bike messenger. It was through his experience as a courier that he found his essence of life and the conceptual basis for his art. In 2006, he returned to Japan. Initially he lived in Tokyo, where he continued to work as a messenger and became involved in the bicycle industry. He is involved in art curating, company/collaborative projects, and continues to exhibit his artwork world-widely. He currently resides in the countryside, Atsumi Peninsula, where he can ride a bike, surf, fishing and farming.

AhHyeon Lee materializes the unreal world created from the perspective of insects into physical space. After receiving her bachelor's degree in Painting from Kyung Hee University, she continued a master's degree in Painting at a graduate institution. She has communicated with the public through her works with shifting gaze and dreamlike colours that transcend the two-dimensional and three-dimensional since her graduation. The artist began her work by considering the invisible or unrecognized vision in today's visual environment and raises the issue of the incompleteness of 'seeing' as we perceive its contents. She eliminates the human subject and creates a symbolic representation of the insect's gaze through painting, crossing the tension that results from the world of insects being repeatedly created and destroyed by others, as well as the feelings of disgust and dread of insects from a human perspective. In her investigation of insect traces, she examined and experimented with the physical characteristics of mediums and invited viewers to enter an imaginary environment.

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. 


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.

Mira Park (b.1982) navigates the space between consciousness and the unconscious, constructing layered compositions grounded in black. Her works depict surreal combinations of humans, animals, plants, and objects—grotesque, unstable entities that seem to move independently within the frame. These forms suggest stories, yet deliberately resist any fixed narrative. Through recurring motifs like holes, doors, and windows, she blurs the boundary between the real and the virtual, hinting at the possibility of other dimensions. Horn-like forms—recalling tentacles, branches, or hands—suggest fluid mobility and a sense of continuous dimensional shift, pulling the viewer into the unknown.

I've always had an interest in inventing my own devices and to use them in installations, creating the overall atmosphere of the space which based on reinterpretation of surroundings. These things are specifically revealed through experiments where I attempt to induce experience that stimulate and renew the sense and movement of the body, the emotion or psychological state that are a recreation of ambiguous topic; which all occur by being confronted with the overall effect of the arrangement of sight, tactile sensation, hearing, or materials that can be felt specifically and touched.

Especially, the psychological suspense left from the experience of personal and mixed situations and gestures from unfamiliar environment are relieved by leaving traces of such suspense through the object made from neutral pieces of materials.

These mediators borrow their form from familiar objects such as images derived from nature itself, but they become ambiguous through slight distortion. At the same time, they become my storytelling tools equipped with my intentions, and the essence can be found as I contemplate the duality of the image that is seen among the exploration of defining the subtle differences between reality and imagination.

In recent years I have been fascinated with embroidery since it represents such a precise accumulation of time and effort. I have studied Korean embroidery skills to depict the surrealism of the subject matter – those uncanny images derived from nature itself.
As my primary discipline has been that of the sculptor, the study of material and materiality has always been a fascination. Rediscovering the use of traditional skills and sharing their primordial characteristics, are often the basis of my work.

When I look at the primitive samplers of old or even the ancient medieval embroideries, I feel an absolute identification with the person who worked the piece. My imagination wanders through their state of mind and their circumstances – their desires, their passions and fears. As I produce my own works I like to think they might trigger the same sense of inquiry inspiring a new audience with wonder and intrigue.

Sangyong Lee is an artist who actively exhibits in both Korea and New York. He has held 16 solo exhibitions, starting with his debut in Korea, and continuing with shows at Tenri Gallery in New York, Waterfall Gallery in New York, BK Gallery in Seoul, and Gallery Jeon in Daegu in 2022. Additionally, he has participated in over 200 group exhibitions and art fairs, primarily on the international stage.

Atom (b. 2000, Bangkok, Thailand) graduated with a Bachelor’s degree in Painting from the Faculty of Painting Sculpture and Graphic Arts at Silpakorn University in 2022. Atom’s work delves into the collective memory of historical events and explores the profound relationship between humans and nature. He believes in the interconnectedness of events and their enduring impact on society.

Atom presents reinterpretations of historical events within contemporary contexts through experimental painting. His work was prominently featured at 'Save Point' at Kinjai Contemporary in 2022, where he introduced new perspectives on historical narratives. Continuing his exploration, Atom has challenged conventional views of collective memory by placing historical events in new cultural frameworks, as showcased in the exhibitions 'AMBIVALOVE' at Alte Handelsschule and 'D.E.T' at Pilotenkeuche during his residency in Germany in 2023.

"Free and fun. Sometimes a bit aggressive."
Most of the work is based on the motif of a colourful, pretty girl desperately trying to appeal for something. The world is presented in a simple and realistic way, using appropriation techniques.

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.

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.

MANE's work presents a story that evokes childhood experiences. However, the artist imbues it with dreamlike qualities that render it unrealistic and obscure. Characters and objects from the artist's real-life memories appear in the composition but are rearranged to create a new narrative that is both recognizable and unfamiliar.

Memories can be ambiguous, much like a dream. However, happy memories often end with our mother's voice, which is softly muted in the background. And, there were books in the past that seemed taller than our height. The weighty tomes imparted unfamiliar tales, ones that compelled us to stay up late and read. 

–From MANE’s note

Jonathan Hadipranata
b.1995, Surabaya, Indonesia
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As a visual artist, Jonathan Hadipranata's work is inspired by anime cartoons from his childhood. However, his work has a rather weighty concept behind it, and his child-like characters are portrayed with their mouths taped against dark and light backgrounds. These paintings are driven by his emotions and love for storytelling, symbolizing his experience and view of society in which we are often unable to speak up or be our true selves.
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In 2014, he went to the Academy of Art University in San Francisco, pursuing a Bachelor of Fine Arts in Visual Development degree. After almost two years of honing his foundational skills in the school, he has returned to Indonesia.
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Hadipranata held his first-ever solo exhibition “Hide Under the Table” in Tokyo in 2021, the show subsequently launched his career as an artist and has shown his works in other parts of the world, including the latest ones: “Rythm and Repetition Vol. 2”, Aught, (USA, 2024); “Rythm and Repetition”, Medel Gallery Shu, (Japan, 2023); “Among The Crowd”, Medel Gallery Shu, (Japan, 2022); “Proxemics”, The Waluso Gallery, (UK, 2022); and “Inmates”, Aught, (South Korea, 2021).

The artist Lee Hee-myoung has been exploring a multifaceted perspective on the inner self using painting and installation works, with a focus on femininity and nature since her plant installation piece in 2006. She graduated from the Department of Painting and the Graduate School of Painting at Hongik University. She has held a total of 11 solo exhibitions, including one at the Zaha Museum of Art in 2019. Additionally, she has participated in around 50 group exhibitions, such as those at the Seoul Museum of Art (2007), Sungkok Museum of Art (2008), Soma Museum of Art (2018), and Zaha Museum of Art (2023). She endeavors to establish an internal connection seeking harmony between nature and the female body through diverse expressive techniques. Departing from a vertical mindset that seeks to dominate nature as a primitive world, Lee Hee-myoung advocates for a horizontal world that aligns femininity and nature. Through contemplation of nature and inner self, she creates reassembled works based on the combination of plants and the body, addressing the corporeality of nature and femininity. She also implements fairy-tale-like imagination and mythical symbolism across various spectrums, the positivity of aesthetic embrace and the unsettling shadow of the unknown are captured in her work.

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