WAL, Wal Chirachaisakul (born in 1991) is an artist of oil paintings, printmaker, and a trailblazer in the art scene for a decade. Emerging from a family deeply passionate about the business of playthings, WAL found unwavering support and genuine enthusiasm for art within his family, which has been a constant pillar throughout his artistic journey. Starting his artistic exploration at College of Fine Arts , WAL later pursued advanced studies in the Department of Painting, specializing in printmaking, at Silpakorn University. During his academic pursuits, WA;L’s artistic prowess shone through, earning him prestigious awards, notably clinching the championship in Mezzotint art competitions both domestically and internationally, spanning Japan, Russia, Canada, and more.

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)

For nearly two decades, d'strict—an ArtTech Factory—has been producing outstanding convergent content by utilizing a wide range of digital media technologies. Their robust technical capabilities have shaped the company's impressive repertoire, which upholds the ethos, "perceiving the zeitgeist and fulfilling its demands constitute the essence of art and the spirit of the artist."
d'strict excels at designing user-centric experiences that are often customized to suit the specific spaces their projects occupy, which is achieved through a content creation process that integrates a variety of interfaces and displays.
Renowned for its capacity to craft intense visual experiences, d'strict is constantly seeking innovative ways to fundamentally stimulate and reshape the perceptions and thoughts of people in their everyday lives, with the ambition to enhance their quality of life.

Yerim Choi's paintings focus on the present. The 'moment' is one that has not been found or is easily neglected. The artist has the desire to capture and convey these moments to the public. She majored in the Department of Fine Arts at Seoul National University of Science and Technology, and she continues to capture and recall pleasant recollections. Warm moments pause the movement of busy individuals, and the artist uses this moment to communicate with the audience and transmit warmth. Warm moments give confidence to confront the next difficulty, allowing for the next stage of recovery in daily life. The artist believes that the world as seen through her eyes will be reinterpreted and conveyed with a new tenderness.  

Xooang Choi(b. 1975) has been creating works that unfold various phenomena arising in the relationship between individuals and society through realistic depictions of the human body. His works possess the power to evoke tactile sensations that resonate thoroughly with viewers’ hearts, prompting them to reflect on the world they live in and the situations they find themselves in. In the recent works, Choi examines the process of actively embracing various intermediate parameters within the artwork, moving away from a subjective position of making sculptural decisions to expand concepts and forms encompassing regions, histories, places, and memories.

He has held solo and group exhibitions at prestigious galleries and museums both domestically and internationally, including the National Museum of Modern and Contemporary Art, Korea; Sungkok Art Museum; Gwangju Biennale; Changwon Sculpture Biennale; Yeosu International Art Festival; Doosan Gallery Seoul and New York; Hakgojae Gallery; Gallery SP; Space So; Yoon Seon Gallery; Musee d'Ansembroug (Belgium); Art Seasons gallery (Singapore); National Centre for Contemporary Arts (Moscow, Russia); Vestfossen Museum (Norway); Brandts Museum (Denmark); Jewish Museum (Berlin, Germany); Galerie Albert Benamou (Paris, France); Musée de la Halle St Pierre (Paris, France); Fine Art Gallery of Luxun National Institute (Shen Yang, China), among others.

Nick Mauss develops a multidisciplinary practice at the interstices in between established histories of the arts. In his works, he uses drawing to navigate between medium and spaces, overcoming categorizations, where the line expands different formats such as reverse glass painting, ceramic, textile, paper, sculpture, performance, and writing.
His work probes into contemporary art productions, through exhibitions that he conceives, using the medium as integral part of his practice. Nick Mauss sheds light on forgotten historical archives connecting different histories and artistic genres. Thus, he offers a new genealogy to the works and reassesses the artist’s positioning and modes of representation.

Alexander Calder changed the course of modern art with his three-dimensional kinetic sculptures, which Marcel Duchamp named “mobiles.” Resonating with tenets of Futurism, Constructivism, and early non-objective painting, Calder’s mobiles consist of boldly colored abstract shapes, which are made from industrial materials and hang in lyrical balance. Calder was an international phenomenon during his lifetime. He won the grand prize for sculpture at the 1952 Venice Biennale, where he represented the United States. He earned the French Legion of Honor and the American Presidential Medal of Freedom, among other honors. Calder has been the subject of solo exhibitions at the Museum of Modern Art, the Rijksmuseum, the Louisiana Museum of Modern Art, and the Museo Reina Sofía. His work regularly sells for eight figures on the secondary market. Though Calder is best known for his mobiles, his diverse practice also encompassed standing sculpture, painting, set and costume design, large-scale public installation, and jewelry-making.

The nature in Jaewon Jung’s paintings encompasses not only nature, which grows on its own without human touch but also nature that has been changed and catered for human preferences and desires. To her, nature is not just an object of contemplation or nostalgia for the lost landscapes, but something that incorporates time, memories, desires, new environment, and experiences that transcend beyond the visible spectrum. Nature continues to change in the past and present, reflecting the relationship between individuals and society, nature and humans, and appears in the most ideal form of that era. As we go back and forth between what's real and what's ideal, we reflect on changes in our perception of nature and ask ourselves what is “true” landscape painting in this era. Beyond realistic and illusory descriptions, she is trying to reproduce nature more sensibly.

Matthew Antezzo (1962, USA) in the 90s made a substantial body of work which took as their models photographic reproductions that he found in magazines, catalogues, monographs and publications dedicated to contemporary art, particulary art from the late Sixties and the early Seventies, the era that witnessed the birth of the most radical neo-vant-garde movements of the postwar period.

Alimi Adewale was born on 8 May, 1974 in Lagos, Nigeria. Although he studied mechanical engineering, he developed an interest in art by going to exhibitions. He furthered his extensive knowledge of art after graduating by attending various art workshops around the world.
Adewale uses the mediums of painting, sculpture and installation to explore urban issues and the lives of everyday people in cities. Some of his work examines the impact of excessive urbanisation, rapid modern development, and the growing global economy on society. His practice combines elements of minimalism and abstraction to evoke the dynamism and intensity of the cosmopolitan environment. Most of his work has a profusion of rich textures and oftentimes an uncommon
sculptural finish, whether utilising photography and oil paint (Owambe, 2015) or thick lumps of oil mediums (House of Assembly, 2013).
The artist mines the endless possibilities of a particular material to introduce an additional dimension into the work: that of time. Imbued with their own mortality, his sculptures cultivate the experiential function of art compared to traditional African sculptures, creating an oeuvre that
is distinctly current and as witty as it is macabre.

Adept in printmaking, watercolor and installation, he is best known for his sculptures, particularly his silhouettes, which range from miniatures to large-scale works. Often disturbing or awkward, the sculptures present distorted expressions and a malevolent presence, exploring the role of the artist in contemporary society.
Architectural models are also an important part of Thomas Schütte’s artistic practice. He has created a series of models, in different scales, including Model for a Hotel (2003), which was installed on the fourth plinth of Trafalgar Square in London in 2007. He refers to the models as a way of opening up works to the viewer: “I use models because they are something anyone can understand. You can see them as a prototype for something bigger, something seen from a child’s perspective; you could see them as a public stage. Schütte has had many solo exhibitions at venues including the Dia Center for the Arts in New York in 1999, the Reina Sofia in 2010, the Serpentine Gallery in London in 2012, the Fondation Beyeler in 2013, and the Kunsthaus Bregenz in 2019, among others. He received the Golden Lion at the Venice Biennale in 2005 and the Düsseldorf Prize in 2010. Schütte’s work is in the collections of the Tate Modern in London, MoMA in New York and the Art Institute of Chicago.

JEJn usually attempts to depict incomplete human nature through paintings. People today reject their underlying sentiments of fear, incompleteness, and weakness to naturally avoid them. However, the fragmentary phenomena that result from these emotions are also believed to be part of human nature, and the artist interprets and conveys these inconvenience things through his individual sense of humour and cartooning technique. He asks the audience what would happen if the heaviness and hardness of the facts that people are confronting were presented to them as a hilarious black comedy. 

장 미셸 오토니엘은 프랑스를 대표하는 현대미술가로서, 그의 예술 작품은 주로 설치미술, 사진, 조각 등 여러 매체를 통해 표현된다. 삶에서 이뤄지는 다양한 만남과 문화에서 끊임없는 영감을 받는 그는 80년대 후반부터 이를 자신의 개인적 경험과 결합해 왔다. 특히 주재료 유리를 이용한 독특한 작업 방식으로 유명한데, 다채로운 색상과 크기, 투명성, 반짝임 등을 활용해 인간 존재와 관념, 삶의 의미를 다룬다. 영롱한 그의 유리구슬은 수공 과정에서 생긴 일부 흠집들과 공존하며 깨지기 쉬운 유리의 본래 속성을 동시에 연상시킨다. 오토니엘은 이를 인간 삶과 연결해 현재를 살아가는 모든 이들이 상처와 고통을 극복하고 세상과 마주할 수 있는 희망을 전한다.

오토니엘은 1992년 제9회 카셀 도큐멘타 초대작가로 주목받았으며, 2000년 파리 지하철역 개통 100주년 기념 프로젝트로 세계적 명성을 얻었다. 최근인 2019년 루브르(Louvre)의 요청으로 작업한 회화 작업이 미술관에 영구 소장 되었고, 올해 문화 발전의 공로를 인정받아 프랑스 최고 영예인 레지옹 도뇌르 훈장을 수상했다. 한편 그의 작품은 미국 뉴욕 MoMA, 뉴욕 브루클린 미술관, 파리 퐁피두 센터, 파리시립 현대미술관, 까르띠에 현대미술재단, 이탈리아 베니스 페기 구겐하임 컬렉션, 서울 삼성미술관 리움 등에 소장되어 있다. 

Jean-Michel Othoniel, a prominent contemporary French artist, is renowned for his works spanning various mediums including installation, photography, and sculpture. Drawing continuous inspiration from diverse encounters and cultural experiences since the late 1980s, he blends these influences with his personal experiences. Othoniel is particularly acclaimed for his unique approach using glass as his primary material, employing a spectrum of colors, sizes, transparency, and shimmer to explore themes of human existence, concepts, and the essence of life. His luminous glass beads, coexisting with imperfections from the handcrafting process, reflect the fragile nature of glass, symbolizing hope for all to overcome life's challenges and pain.

Othoniel gained international recognition as an invited artist at the 9th Documenta in Kassel in 1992 and furthered his reputation with a major project commemorating the centenary of the Paris Metro in 2000. His recent achievements include permanent inclusion of his painting series by the Louvre in 2019 and receiving France's highest honor, the Légion d’honneur, for his contribution to cultural development. His works are housed in numerous renowned collections such as the Centre Pompidou, Fondation Cartier pour l'Art Contemporain, and the Louvre Museum Paris; Museum of Modern Art and New York Public Library, New York; Boghossian Foundation, Brussels; Leeum Samsung Museum of Art, Seoul; Budi Tek-Yuz Museum, Shanghai; and the Peggy Guggenheim Collection, Venice.

Henri Matisse was a French visual artist, known for both his use of color and his fluid and original draughtsmanship. He was a draughtsman, printmaker, and sculptor, but is known primarily as a painter. Matisse is commonly regarded, along with Pablo Picasso, as one of the artists who best helped to define the revolutionary developments in the visual arts throughout the opening decades of the twentieth century, responsible for significant developments in painting and sculpture. The intense colorism of the works he painted between 1900 and 1905 brought him notoriety as one of the Fauves (French for "wild beasts"). Many of his finest works were created in the decade or so after 1906 when he developed a rigorous style that emphasized flattened forms and decorative patterns. In 1917, he relocated to a suburb of Nice on the French Riviera, and the more relaxed style of his work during the 1920s gained him critical acclaim as an upholder of the classical tradition in French painting. After 1930, he adopted a bolder simplification of form. When ill health in his final years prevented him from painting, he created an important body of work in the medium of cut paper collage. His mastery of the expressive language of color and drawing, displayed in a body of work spanning over a half-century, won him recognition as a leading figure in modern art.

Seung Eui Hyun, who majored in Oriental painting at Seoul National University, has continued to explore nature and space. Born and raised in Jeju Island, the artist reconstructs the tourism industry, the non-verbalized romanticism it incites, and the narratives hidden beneath the surface with a cynical perspective. She reveals the logic of capital operating beyond idealized landscapes and addresses environmental and social issues through her dense paintings. By presenting today's scenery as multi-layered images, the artist exposes the anxiety at the point where reality and romanticism intersect and collide. By depicting various phenomena within this gap, she lays bare the emptiness of the saturated modern world.

Jiyoung Yoo studies artificial orders and systems that are found in everyday life, and the history of objects that belong in such system. As a subject of painting, the artist observes and collages various forms of objects such as eggs, water cups, manuscripts, calendars, and clocks that are often categorized as one unit or assembled as a bundle. This unique practice highlights the idea of relations in paintings. Visually intersecting and yet limiting the conditions of systems that each object has, the variations that the artist depicts present a new perspective in her own language.

Gon Jeong depicts diverse forms of love through his paintings He is currently working in Seoul and gets inspiration from people's conversations and emotions. It is believed that it is completed through the process of being comforted and empathized in everyday human relationships, and the artist intends to convey a message of consolation to visitors through love-themed works.  

A key member of first Dada and then Surrealism in Europe in the 1910s and 1920s, Max Ernst used a variety of mediums—painting, collage, printmaking, sculpture, and various unconventional drawing methods—to give visual form to both personal memory and collective myth. By combining illusionistic technique with a cut-and-paste logic, he made the incredible believable, expressing disjunctions of the mind and shocks of societal upheavals with unsettling clarity.

Mi Seon Yoon’s work is given vitality through the temporal narrative of her life. Her portrait works, completed in the form of repetitive spheres, are colored with graphite to add emotional depth. The works are given the meaning of an act of resolution because they begin with an obsessive life experience. In this way, Yoon’s works are unique focal points that reveal emotional darkness in its pure raw form.

Luke Park creates a new beauty through the aesthetics of imperfection and minimal expression on an empty canvas. The artist, who majored in Business at Hongik University and received a master's degree in Arts and Cultural Management from the graduate institution, is claimed to have been interested in traditional Japanese culture for a long time. In particular, the Japanese dry garden culture, known as Zen Garden, influenced his current style of painting. Instead of incorporating incidental components in his works, he attempts to convey the meaning solely through the flow of brushstrokes. Exploring the true nature of life, the artist reveals via his works the necessary approach to life in our materialistic society. 

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