Zhu Peihong was born in Shanghai in 1987 and graduated from the printmaking department of Beijing’s Central Academy of Fine Arts in 2014 with a master’s degree.
The artist’s My Space series focuses on the dots, lines, and colour patches that flash in the picture in the process of creation as well as the traces left on the picture due to their convergence and dissolution. In this creative process, the strokes overlap and cover each other, and the paint slowly
drips and spreads, solidifies and stops, repeatedly until these fragmented traces, reaching an internal order, organically connect with each other and construct the conscious cyberspace perceived by the artist’s mind. The abstract dynamic air dome installation 'Space O' uses virtual reality technology to replace brushes with handles and canvas with the sky, releasing the magnificent colour energy existing in the universe. The artist combines art and technology to build a channel between virtuality and reality, connecting it with our world.

Born in Seoul in 1988, Jaeyeon Yoo received her B.A. in Western Painting from Ewha Womans University and her M.F.A. in Painting from the Royal College of Art, UK, and has been working between Seoul and London. She builds landscapes in which everyday life and fantasy coexist, focusing on the time and place of 'night' to unravel the large and small events of everyday life and the individual's imagination and thoughts that originate from these events. She expresses the ambivalent aspects of the world in her paintings by nostalgically visualizing her childhood experiences and memories, and introducing disturbing situations or unclear objects. Through the subtle emotions generated by private memories and fantasies, she aims to draw attention to the 'gap' between the dual worlds of society and the individual, past and present, phenomenon and reality, fear and dream, inner and outer, existence and perception, etc. 
The work Night Walker expresses a dual state of isolation and freedom through the depiction of the landscape of the "blue night," sensed via the light that manifests in the darkness—such as the moon, meteor showers, and the screen of a mobile phone. It captures the figure of a solitary night walker on a late-night stroll.



It focuses on the anxiety and contradictions within the complex situations of life, as well as the subtle movements within them. It seeks images that capture the emotions and presence of beings who live through the world, colliding with it on a visceral level. It pursues images that can embody the will and complex emotions that arise at the boundaries where human strength confronts the world, encapsulating the power of existence within them. It visualizes the condensed emotions and forces within moments where existence interacts with matter in a chain of responses.

Jonghwan Lee attempts to extract the vitality of painting from the illusion of paintings medium's physical relationship. For this purpose, he frequently combines pictures from his prior works with new elements. Instead of being recognised for what the image itself represents, they are recognised as a material for paintings. Through the interaction between image and medium, vision and reality, the artist evokes the painting with a subjective vital eye. In addition, while he dissects, penetrates, deconstructs, examines the relationship between pictures produced in paintings and mediums, and investigates the 'vitality of painting.' The process begins with the hypothesis and repeats as 'production-observation-confirmation-hypothesize-resetting'. There are no such things as an independent project; rather, they are interconnected, moving forward and continuously reflecting.

SeoHyun Kim layers, cuts, and reassembles heterogeneous materials—oil paint, wax, resin, and fabric—allowing traces of different times to coexist within a single pictorial surface. Across this surface, undefined beings repeatedly emerge and dissolve, as fragments of memory and record carry on a loose, ongoing conversation.

Kim Muyeol graduated from the Department of Fine Arts at Konkuk University and has since developed a body of object- and furniture-based work centered on the contingency inherent in clay as a material. The process of ceramic making—sometimes completed exactly as planned, sometimes veering into entirely unforeseen results—has come, for the artist, to mirror an attitude toward life itself.
In Plan : Beyond, his solo exhibition at Gallery Kabinett, Kim draws on the actual architectural plans of institutions including the Getty Museum, the National Museum of Modern and Contemporary Art (MMCA), the Musée du quai Branly – Jacques Chirac, the Guggenheim Museum, and the Sayamaike Museum as a starting point for his work. He redraws each building's floor plan by hand with a 3D pen and presses it into a slab of clay; onto that imprinted surface, he then builds up form improvisationally, layering planned structure over accidental change to create a new kind of landscape. From this completed slab, another new slab is pressed in turn—so that the shape of the architecture leaves its trace again and again, as if inscribed into pattern.
Just as artifacts and artworks of disparate origins take on a second narrative once placed within the space of a museum, the architectural forms and plans embedded in Kim Muyeol's clay slabs are reborn—within the physicality of the material itself—as a new stratum of spatial art, one holding boundless possibility.

Hwang Hyeyoung develops her practice around the central figure of the “girl.” In her work, the girl is a symbolic being who transcends specific gender and age.
Through this figure, Hwang reflects her own fragility, immaturity, and honesty, unfolding stories that resonate with her personal journey of growth. She expresses deep empathy for those experiencing the turbulent waves of adolescence, portraying the moments of growth encountered over time by both the girl in her paintings and the artist herself in reality. The forest in which the girl resides symbolizes the trials of adolescence; the expression of diverse emotions, the courage to confront threats and anxieties, and the adventurous spirit to explore new challenges and unknown worlds are all depicted as integral parts of the process of growing up.

Tuagomstudio (Born in 1986), known as Pazut Wutigornsombathkul, a visionary Thai artist dedicated to propagating delight and merriment. His passion for art kindled during his early years, ignited by his sister's enchanting sketches. Armed with a degree in interior design, he embarked on a three-year journey in the industry before he resolved to pursue his lifelong dream of birthing his very own cartoon character.

In 2014, Pazut embarked on a creative journey, designing characters that were born from his own imagination. He started by combining geometric shapes, crafting them together until they formed a perfect circle, evoking feelings of cuteness, simplicity, and harmony. This led to the birth of “Tuagomstudio”, a name that would become a wellspring of inspiration for the artist to share positive emotions with those who encountered his creations. It became a small, bright light in the darkest of days for anyone fortunate enough to witness his work.

Pazut is not just an artist but also an ardent photography aficionado, and this passion significantly informs his paintings. Every brushstroke and meticulously selected hue in Tuagom’s realm reflects his photographic perspective. His palette primarily comprises the cheerful shades of yellow and light blue, symbolizing sunshine, hope, laughter, warmth, happiness, and vitality, all designed to elicit spontaneous joy and tell the tale of Pazut’s profound bond with art.

His first solo exhibition, ‘On Cloud Nine,’ opened in 2023 at River City Bangkok. It took the audience on a trip through the friendship and bond between ‘Gommie’, the character of a happy chubby boy, and his dog 'Bingsu', which was warmly welcomed. Then, in 2024, Tuagomstudio showcased his Art toy series ‘I'm a couch potato’ at the Pop Toy Show 2024 in Singapore, where it was highly appreciated by collectors from Singapore and other Asian countries.


Director Jacq / Wayn Traub (Brussels, 1972), is a visionary Belgian artist whose practice dissolves the boundaries between film, theatre, textile art, and sacred ritual. His work is driven by a pursuit of “Total Art”, a seamless, immersive fusion of image, sound, and lived experience.
Director Jacq holds a Master’s degree in Film Directing and Art History. His career began in visual arts, with early explorations in video and intricate hand-embroidered textiles, before evolving into groundbreaking stage direction. From 2004 to 2012, he served as Artistic Director at institutions including Bourla Opera in Antwerp and Le Théâtre de la Ville in Paris, collaborating with icons such as Jane Birkin and Alejandro Jodorowsky.
Since 2012, Director Jacq has been based in Thailand, where his focus has returned profoundly to the material and narrative possibilities of textile. Here, he creates his monumental hand-embroidered copes—each requiring four to five months of meticulous stitching on traditional Thai fabrics—weaving personal mythology into devotional objects.

He is internationally celebrated as the pioneer of “Cinema Opera,” a form of multidisciplinary ritual theater that transforms the stage into a space of communal initiation. In Director Jacq’s philosophy, art is not merely observed but entered, felt, and lived, an act of spiritual awakening and transformation.


Beyond his studio practice, Director Jacq is an avid curator, collector, and cultural catalyst, collaborating with museums such as S.M.A.K. in Belgium and MOCA Bangkok. His multidisciplinary vision continues to expand, always seeking the point where craftsmanship, cinema, and ceremony become one.

Clement Rodzielski queries the original meaning of images through their channels of distribution and reproduction. According to principles of duplication and re-presentation of the images used, the artist poses a reflection of the tumult of images from visual communication.

Clement Rodzielski's work has been shown in exhibitions held in international institutions, among them: Musée d’Art Moderne de Paris, Paris (2021; 2017; 2010); Kunstverein Langenhagen, Langenhagen (2019); Goton, Paris (2017); Villa Arson, Nice (2015); Synagogue de Delme, Delme (2015; CNEAI, Chatou (2014); Indipendenza, Roma (2014); Palais de Tokyo, Paris (2012; 2008; 2009); FRAC Champagne-Ardenne, Reims (2012); Fondation Pernod Ricard, Paris (2011; 2009); Musée National d'Art Moderne, Paris (2021); Centre Georges Pompidou, Paris (2020; 2009); Bétonsalon Centre d'art et de recherche, Paris (2005).

Clément Rodzielski's works have joined the collections of the following institutions: Musée National d'Art Moderne, Centre Georges Pompidou, Paris; Musée d'art Moderne de Paris, Paris; Centre national des Arts Plastiques, Paris; Kadist Foundation, Paris; FRAC Champagne-Ardenne, Reims; FRAC Île de France, Paris; FRAC Grand Large - Hauts de France, Dunkerque.

I paint beings that seem to carry the presence of loneliness. These are often things or creatures that feel overlooked—lost items, small animals, confined beings, objects tucked away in corners. They’re nothing extraordinary: common things anyone might own or pass by without much notice. But if you look closely, you might catch a glimpse of these quiet presences that exist between the steps of everyday life. They’re often found just off to the side of the path, missing a part of themselves, or left behind without a clear purpose.

Sometimes, in the middle of ordinary life, I feel like I’ve become something “other.” I’ve named this feeling becoming a fake human. It’s a sensation that arises when I’m walking down a street, speaking with someone, or standing among a group of people—moments when I suddenly hesitate to connect, sensing that I’m not quite the same. In those moments, I imagine myself as someone nearly human but slightly off, like a flawed copy—resembling a person, yet missing something essential.

I began drawing fragments of "people" through other beings because I believe the things shaped by humans—or whose lives have been altered through human presence—end up resembling us in subtle ways. Whether consciously created objects or living things unconsciously affected by human behavior, these entities are part of the social world we inhabit. And when they’re no longer just someone’s possession, but exist in their own right, they begin to carry a deeper sense of meaning. Their anonymity—the fact that we don’t know where they came from or where they’re going—gives them a kind of quiet, haunting weight.

In my paintings, these figures often share similar appearances. Like the strangers we pass on the street whose faces we never fully see, they fade from memory even as they surround us. I once saw a nearly new doll abandoned on the sidewalk. On another day, I passed an old man drawing on the street in the freezing winter. These are the kinds of moments I try to gather—brief scenes that make you pause for a second and look. Through my work, I want to depict the quiet, slightly unbalanced figures of ordinary people—people who, for just a moment, come into view.

Marcel Duchamp made irreverent, wildly inventive art that blazed new trails for the 20th-century avant-garde. He briefly worked in a Cubist mode and helped spur movements including Dada and Conceptualism. Though his practice spanned drawing, painting, and installation, Duchamp is perhaps most famous for his “readymade” sculptures: pieces composed of prefabricated objects such as a urinal, a shovel, or a bicycle wheel affixed to a wooden stool, which the artist situated in the middle of the exhibition space. Duchamp saw the readymade as an opportunity to free art from traditional confines of taste and beauty. He studied at Académie Julian before becoming involved in the avant-garde circles of New York and Paris. Duchamp also played tournament chess and, in the last decades of his life, worked in secret on a final installation, Étant donnés (1946–66). His pieces have sold for up to eight figures on the secondary market and belong in the collections of countless institutions, including the Museum of Modern Art, the Tate, the Staatliches Museum Schwerin, the Guggenheim Museum, and the Metropolitan Museum of Art.

Channing Hansen was born in 1972 in Los Angeles, USA. His knitted works tread the line between painting and sculpture with their web-like construction occasionally revealing the stretcher behind.
Their relationship to craft may initially seem to be at odds with the scientific concepts informing the algorithm. However, bringing these two disciplines into dialogue allows Hansen to explore the tension between chaos and order, as the artist’s hand introduces human variability within
an otherwise programmatic composition. This is evident in the forms his textiles evoke, which might resemble tendrils of DNA, crystalline structures, or biomorphic shapes.

Arin Rungjang is known for deftly revisiting historical material, overlapping major and minor narratives across multiple times, places, and languages.

Chansong Kim focuses on 'moment', the finding of fleeting emotions and insignificant experiences in our daily life. She majored in Fine Arts at Kookmin University and has continued to paint with a concentration on borders. She discovered that she was unfamiliar with a photograph in which only parts of her body were captured by mistake, and she studied the boundaries that separate her from what is outside of her body. In addition, she expressed the adaptation, conflict, and tension of a new existence in an unfamiliar place through the “Garden Series,” which was inspired by the narrative of Paris's free and beautiful gardens and plants during her 2015 year-long stay there. Chansong Kim, who is captivated by the uncertainty of painting, indicates the direction of future works, which she considers to be a balance between an interest in the subject's integrity and the material's physical properties.

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.

In a space in between composition and abstraction, April Yang continues to use painting as a common language that includes individual appreciation. She obtained her MFA in Painting at the Royal College of Art after studying Painting at the Korea National University of Arts, and she has exhibited her work both in the UK and in Korea. Her interest in life derives from her diasporic background, having lived in several locations, and been exposed to other cultures since she was a young child. She also looks for ways to communicate across linguistic and cultural barriers. She enjoys in illustrating the spirit of mankind and environment in a range of materials and scales, whether it be in a vibrant portrait or an abstraction with a focus on color and line. Her work is intuitive and sensitive, and she hopes to appreciate it with reflection and contemplation to purify visitors’ minds and consciousness and find peace and optimism.

Hwasu Yoo, born in 1989 in Busan, graduated from the College of Arts at Dankook University and the Graduate School of Painting at Kookmin University. She has participated in five solo exhibitions and numerous group shows, expanding her international presence through major art fairs in Singapore, Hong Kong, and China.
Hwasu Yoo conceived her "Unrealistic Space" series from the anxiety and desire for stability stemming from repetitive daily life, habitual actions, and irrational situations. She transforms feelings and images based on experiences or the real world into collages on square or circular canvases, incorporating oil paint and fabric objects to create an unrealistic "virtual world." The artworks prominently feature flowers, horses, and children, with the children symbolizing freedom as they collect words from floating horses that travel for play. The horses disguise themselves within their surroundings, avoiding capture. Through the acts of "drawing" and adding "fabric objects," the artist creates imaginative spaces where exhausted figures, masked as boys and girls, seek playfulness, reflecting her unique narrative towards a utopia.

JiHyun Im explores painting through the close observation and magnification of plant surfaces. Seen at close range, the plant no longer appears as a single, unified form, but unfolds into layered strata, splitting grains, and flows of diffused color—separate yet continuous, forming a single mass. Through this, the plant is perceived not as a specific subject, but as a structure that generates sensation.

The diffusion of red hues, smooth gloss, and dry, cracking textures evoke the surface of skin or internal tissue, revealing moments where form shifts into another mode of perception. Rather than reproducing the subject, the work follows the sensations that emerge through proximity, constructing the image by leaving or removing fragments of form. What matters is not what is depicted, but what kind of sensation is produced on the surface.

The pictorial surface is treated like a kind of skin, where accumulated and abraded layers, permeating color, and traces of gloss and dryness overlap to form an organic structure. This surface does not remain fixed as an image, but persists in a state of continual change.

Ultimately, the work does not aim to represent a specific subject, but explores the threshold between the moment just before form is recognized and the point at which it begins to dissolve, drawing attention to where the familiar becomes unfamiliar.

Hyundoo Jung gathers subjective conversational language by accumulating brushworks that show the physicality of the senses that arise from the inside. After graduating from the Department of Painting at Hongik University, the artist earned a master’s degree in the Department of Fine Arts at the Seoul National University of Science & Technology and was a resident artist at the Gyeonggi Creation Centre. His paintings reflect the trajectory and substance of the human body, while also being hospitable and evoking a distinct feeling. He repeats the process of his works by reacting intuitively to the colours and images formed by the improvisational movement and the state and concentration of the paint application on the canvas. The image of the stacked layers on the screen exposes a spectrum of colours and the artist’s sensual judgement. Hyundoo Jung also gradually makes the chroma heavier while adding a sense of density of colour. He treats the entire screen of his painitngs as a result of complete abstraction and sensation, as if it were directed from the surface to another kind of space. 

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. 

He works with a variety of materials such as wood, stone, and thread, exploring themes of art and life, the ecology of nature, and the cyclical passage of time.

Jina Park employs snapshots to capture scenes of the everyday and translates them onto the canvas as paintings. Portraying the colorful expressions of exhibition installation sites, performance rehearsals, and night time sceneries, the platform of paintings allows the audience to look back on the otherwise unnoticed or forgotten mundane life anew. Simply defining painting as “both an image and a material,” Park focuses on its unique materiality. As her working process concentrates on repetitive physical contact with the canvas, the transient moment captured by chance with the camera is reconstructed on the canvas over a prolonged period of time. The fleeting moment that could have been easily bypassed, dons new materiality and temporality. One figure may repeatedly appear in various works, while another figure may appear numerous times within a single frame. Sometimes multiple photographs are rearranged into one composition. As such, Park’s paintings are the products of combining images from various timelines through her own painterly perspective.

Shin Junmin (b. 1985) majored in painting at the College of Fine Arts and the graduate school of Yeungnam University. As a "walker" in everyday life, he has developed a deep interest in the various forms of light, both natural and artificial. His work focuses on visualizing intangible elements such as the day's wind, air, temperature, and sound, all of which contribute to his exploration of light in his paintings.

He has held a total of 10 solo exhibitions to date, including White Out (2024, Pipe Gallery), White Shadow (2024, Artspace Purl), and New Light (2022, Boan Yeogwan 1942). His notable awards include being named Young Artist of the Year (2015, Daegu Culture and Arts Center), Suseong Emerging Artist (2017, Suseong Artpia), Young Artist Support Program (2018-2019, Daegu Foundation for Culture), Ha Jung-woong Young Artist (2019, Gwangju Museum of Art), and First Career Support for Young Artists (2022, Korea Arts Council).

Crystal 2016–8

Crystal 2018–3

Growing 1031-1087

Through The Woods 2 숲의 게임 2

Through The Woods 3 숲의 게임 3

Weeping brushes

Memo piece_ Help yourself

Memo piece_ Weeping brushe

Memo piece_ Dream

Late Night Incident 04

Weeping Brushes_Painter’s Luck

The Spell 01

The Spell 02

Night Garden 04

Through The Woods 1 숲의 게임 1

Weeping Brushes_Slow Dance

Late Night Incident 03

Night garden 05

Weeping Brushes_Shower

Weeping Brushes_Tropical Dream

Melting

Edge

Water Precipice

Rising Breath

Relief

Recoil

Wave

Above the Surface

Storm

Dissolution

Toward

Water Barrier

Wave Riding

Touch

Submersion

Loose Boundaries

Breathe

Precipice

Headland

Hollow

Surge

Liquid

Twist tie 

Window2020 record

Route-crash

Twist tie2

Formation

Wipe #1

David

네이버 검수용 더미

Venus

We met on the Pale atmosphere

__test__

I See You, Icy You

Over the Sugar Bridge

Tiny Snow Ball

Slap 18

Slap 26

Slap 22

Slap 21

Slap 20

Slap 19

Slap 17

Slap 16

Slap 11

Slap 10

Slap 09

Slap 08

Slap 06

Slap 05

Slap 04

Slap 02

Slap 01

Slap 15

Slap 14

Slap 12

Slap 25

Slap 27

LITTLE GIRL

SMALL TALK

HEART HEAD

ALICE'S HAT

SPACE OUT

ALICE

Nana’s Wonderland

ALICES

ROSE KEY

MY LITTLE HOUSE

HIDE AND SEEK

LITTLE WINDOW

MIRROR

On Cloud Nine Sculpture

Thermocline

Leviathan

Mimi

blabla

Nanananana

Untitled

Watching and Passing By,

Waiting, Waiting,

Live Long, Live Well,

To Hold a Heart Forever,

A Tool for a Frugal Birthday Celebration,

Coeurs Volants

Pattern 2

Pattern 8

We will leave and never return

Water and Skin

Narrative

Anonymous feet

Nuance

When the Air Touches the Skin

The moment

Monarch of Courage

Monarch of Liberty

Monarch of Justice

Monarch of Beauty

Monarch of Love

Monarch of Peace

Monarch of Wisdom

Monarch of Revival

Unrealistic space_Little star passage

Unrealistic space_A word of remark(An added words)

Wing -- Remex

Wing -- Secondary

Wing – Primary

Wing -- Covert

Wing -- Tertial

Forest and Body_Mass

19.10.30-20.01.02

2018-19.12.06

A Paradoxical Talk 1-2 

Birds, Trees, and

얼굴로 그린 그림 2

반짝 반짝

풍경

19.10.30-12.19

20.10.22-21.02.03

새나무

20.08.21-08.30

얼굴로 그린 그림 1

얼굴로 그린 그림5

왼쪽으로-얼굴을 던지는 사람 1

빛나는 얼굴

돌머리

오른쪽으로-얼굴을 던지는 사람 1

19.06.27-20.02.19

Face of the Sun and Moon

19.08.10-12.19

토끼잡는 사람

Untitle

Film

Flow

Nosenso of Islands 01

Forest Series - Line forest

Futurism

Trick

Object Series - 04

Forest Series - Norwegian forest

Door of memory

Pictures of Me

Object Series - 02

Forest Series - Green forest

Empty Spaces

Harmony of elements

Collage of Rhythm 02

Collage of Rhythm 03

About memory

Nosenso of Islands 02

Object Series - 05

Forest Series - Calm forest

Forest Series - Summer rain forest

Time

The world of zero

Object Series - 01

Things stored during the winter

Afterimage