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.


Sujin Lee captures the quiet, psychological unease embedded in the everyday. Borrowing emotionally neutral imagery—film stills, mundane objects, and diagrammatic forms—she turns them into compositional experiments that probe the instability of feeling. By revealing only fragments of the human figure or treating still life as a kind of portrait, Lee transforms personal experience into a shared sensibility. Her paintings balance tension and stillness, strangeness and calm. In her work, anxiety becomes not a singular emotion but a medium for painterly exploration, reframing how emotion itself can be seen and understood.

Blake Daniels, born in 1990 in Cincinnati, Ohio, is an artist known for his unique blend of figurative and abstract art. Working between New York and Johannesburg, Daniels has a rich artistic heritage and developed his passion for art early on. With a Master of Fine Arts from the University of the Witwatersrand and a Bachelor of Fine Arts from the School of the Art Institute of Chicago, where he received the Edward L. Ryerson Fellowship, Daniels employs various techniques, including traditional oil painting and mixed media. His works explore themes of intimacy and human connection, portraying intricate interpersonal relationships set against mystical backdrops, creating an intimate, enchanting atmosphere for the audience.

b. 1980, Montalban, Philippines

At the heart of Rodel Tapaya’s work is his ongoing amalgamation of folk narrative and contemporary reality within the framework of memory and history. Utilizing a range of media - from large acrylic on canvasses to the exploration of under-glass painting, traditional crafts, diorama, and drawing - Tapaya filters his observations of the world through folktales and pre-colonial historical research,  creating whimsical montages of his characters.

Selected solo exhibitions include: “Random Numbers”, Tang Contemporary Art (Hong Kong SAR, China,2021); “Myths and Truths”, Tang Contemporary Art, Beijing (China, 2018); “Urban Labyrinth”, Ayala Museum, Manila (Philippines, 2018); “Rodel Tapaya: New Art from the Philippines”, National Gallery of Australia, Canberra (Australia, 2017); “Rodel Tapaya”, Galerie der Stadt Sindelfingen (Germany, 2016). Selected group exhibitions include: “Fragment with Dusty Light” Tang Contemporary Art, Seoul (Korea, 2022);  “Memory, Playfulness, and Stream of Consciousness”, Tang Contemporary Art (Hong Kong SAR, China, 2022); “Falling”, Tang Contemporary Art, Beijing (China, 2022); Heavenly Bodies in the South, He Xiangning Art Museum, Shenzhen (China, 2020); “Far Away So Close!”, ARNDT Agency, Berlin (Germany, 2019).

His work is held in the following museum and institutional collections: Art Gallery of New South Wales, National Gallery of Australia, Tokyo Mori Art Museum, Singapore Art Museum, Philippines Bencab Museum, Philippines Ateneo Art Gallery, Philippines Pinto Art Museum, Central Bank of the Philippines. Rodel Tapaya was awarded the coveted Top Prize in the Nokia Art Awards, which allowed him to pursue intensive drawing and painting courses at Parsons School of Design in New York and the University of Helsinki in Finland. In 2011, he won a landmark achievement for a Filipino artist by winning the Signature Art Prize given by the Asia-Pacific Breweries Foundation and the Singapore Art Museum. He was also among the Thirteen Artists Awardee of the Cultural Center of the Philippines in 2012. 

Salvo was an Italian Conceptual artist that transitioned from producing austere sculptures to painting richly colored depictions of the Italian countryside. Born Salvatore Mangione on May 22, 1947 in Leonforte, Italy, he became associated with artists of the Arte Povera movement during the late 1960s, meeting Alighiero Boetti, Mario Merz, Gilberto Zorio, and Guiseppe Penone, while living in Turin. Originally achieving recognition for his text-based works—which consisted of his name or a tombstone for himself—Salvo began painting in 1973. Characterized by simplified forms reminiscent of the early Modern avant-garde. These dream-like scenes like are reminiscent of the Italian Metaphysical painter Giorgio de Chirico. In 1977, the Museum Folkwang in Essen, Germany gave the artist his first retrospective. He died in Turin, Italy on September 12, 2015 at the age of 68.

Todam assembles fragments of memory to sculpt new afterimages. By presenting familiar subjects in their distorted, recollected forms, he renders the recognizable strange. His works hovering between warmth and unease add a subtle charge to each viewer's personal memories, opening space to reimagine the subjects that live within them. What appears at first glance to be roughly made is, in fact, the product of meticulous sketching and dozens of simulations. These deliberately planned imperfections carry a force strong enough to displace the clear, universally recognized image of the original.

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

From 1973-76 he attended the University Witwatersrand, in Johannesburg, South Africa. He studied at the  Johannesburg Art Foundation, Johannesburg, South Africa, from which he graduated in 1978. In the early ‘80s he moved to Paris to study theater, attending the École Jacques LeCoq, and investigating acting, directing, and filmmaking, with little success. In the late 1980s he went back to art, making drawings and animated films and other films. Between 1989 and 2011, he created 10 Drawings for Projection, a set of 10 animated movies, which caused him to understand that the films were fundamental to his work. Kentridge has also directed several operas. He has been awarded The Carnegie Prize, Pittsburgh in 2000, and is the recipient of several honorary doctorates, including an Honorary Doctorate from the Royal College of Art, London in 2010.

He was Humanitas Visiting Professor in Contemporary Art at Oxford University, Oxford, UK in 2013. He was honored as a Commandeur des Arts et des Lettres.  In 2016, his solo exhibition “Thick Time” opened at Whitechapel Gallery in London. Kentridge has participated in Documenta (2012, 2002, 1997) as well as the Venice Biennale (2015, 2005, 1999 and 1993). His work is in the collections of the Tate, London, the Museum of Contemporary Art, Chicago, the Metropolitan Museum of Art and the Museum of Modern Art in New York and the San Francisco Museum of Modern Art, among many others.

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.  

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.



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.

Anniketyni Madian (b.1986) is a Malaysian artist celebrated for her contemporary wood sculptures, which draw inspiration from her Iban heritage. Born in Sarawak, her connection to traditional art forms and indigenous craftsmanship is deeply embedded in her work. After graduating from Universiti Teknologi MARA (UiTM) with a focus on sculpture, Anniketyni honed a unique style that blends modern aesthetics with cultural motifs, particularly the traditional pua kumbu patterns. Her intricate woodwork has earned acclaim for its craftsmanship and cultural resonance, offering a fresh perspective on Malaysia's artistic identity and heritage.

Anniketyni’s work has been showcased in major galleries and exhibitions, both locally and internationally, positioning her as a significant figure in contemporary Malaysian art. Her innovative use of wood and her dedication to preserving indigenous art forms have inspired a new appreciation for Malaysian heritage within modern art. By incorporating cultural narratives into her sculptures, she challenges viewers to engage with Malaysia’s rich traditions in a contemporary context. Anniketyni's influence is profound, as she bridges the gap between tradition and modernity, encouraging younger Malaysian artists to explore their cultural roots in innovative ways.

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.

Joonun Kim expresses the inherent anxieties in everyday landscapes through painting. Assuming that personal lives are a result influenced by social structures, she documents the strangeness derived from minor aspects. Instead of showcasing anxiety and trauma directly in her works, she subtly captures the landscapes left behind afterward. In this surreal space-time, questioning whether it's reality or a dream, she maintains a sharp perspective by observing her surroundings. To avoid being swept into apathy or making rash judgments about situations, she disciplines himself to maintain a moderate level of objectivity. Her major exhibitions include the solo exhibition "Time Dilation" (2022, Sahngup Gallery), and group exhibitions "And Live" (2021, Art Space Mullae), and "Mind Sculpture" (2021, BGA).

Pawarisa wangkhomfu was born and raised in Phayao. She graduated with a bachelor’s degree from the faculty of painting, sculpture and printing, Silpakorn University. She had participated in Portrait Prize exhibition in 2023 and Being human exhibition in 2019. Moreover she had participated in Art Busan, an international stage in 2024. She has solo exhibition “Younger Dryas” in 2023 and "Human Behaviour" in 2024.

Anya Paintsil (b. 1993) is a London-based textile artist of Welsh and Ghanaian descent.
Combining traditional hand rug making techniques with Afro hair styling methods, Paintsil’s practice is largely autobiographical. She takes inspiration from her childhood, family stories, and Welsh and Ghanaian mythologies, while exploring identity and gendered labour. Paintsil seeks to promote artistic practices historically devalued due to their associations with femininity and other marginalised groups.

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.

Lee Mina is an artist who closely observes the instincts and habits of animals and plants, granting narrative to their inherent characteristics and shaping the wonder of living beings through a visual language. The subjects in her paintings, shaped by attentive observation, acquire distinct personalities and temperaments, taking their place as if they were individual presences. Through subtle expressions, gestures, and scenes of relationship that she carefully captures, she composes painterly structures that evoke sensations beyond the visible world.

Working primarily in painting while also engaging sculpture, installation, and picture books, her practice moves fluidly across media. Throughout her work, the pure realm of animals and plants intersects with an unknown world that humanity has yet to reach. Her works invite viewers to see familiar beings anew and to imagine the mystery and essential innocence of life.

In the field of picture books, Lee Mina has been recognized by first-generation Korean picture book artist Jaesoo Ryu and Japanese artist Seizo Tashima. She has published five picture books. Her picture books convey layered reflection and symbolism within concise narratives, achieving both visual density and emotional resonance.

Alexandra Grant is a Los Angeles based artist who through an exploration of
the use of text and language in various media painting, drawing, sculpture, film,
and photography probes ideas of translation, identity, dis/location, and social
responsibility. Grant frequently collaborates with other artists, writers, and
philosophers, often going so far as to have specific texts written as the impetus
to her intricate paintings and sculptures. She has collaborated with author
Michael Joyce, actor Keanu Reeves, artist Channing Hansen, and the
philosopher Hélène Cixous, amongst others. Having spent significant portions
of her childhood and adolescence living in Mexico, France, and Spain, some of
the basic questions that fuel her practice are: How do the languages we speak
and the images we see form how we think and exchange ideas? How can
artists and writers work to create and influence culture in an increasingly
technology driven world?

Soo Kyoung LEE (b. 1969, S. Korea) lives in Paris and works in Paris, Brussels and Seoul. She is represented by Galerie Oniris in Rennes, MM Gallery in Brussels (Belgium) and Accompany in Busan (South Korea).

Soo Kyoung LEE creates her work by accumulating, visualizing, and erasing various actions through momentary intuition and constant observation. When several layers are stacked as the finished work is erased and overlapped again, the background color and shape may turn into the main character or new shapes may be created on it again. In a plane, these layers produce infinite depth, repetitive time, and rhythm.

Thanawat Numcharoen
b.1996, Sisaket, Thailand
Lives and works in Bangkok, Thailand

Ellsworth Kelly revolutionary emphasis on pure abstractive forms and innovative treatment of color reshaped the practice of painting in the late 1940s and early 1950s. His approach greatly influenced the nascence of Pop Art, Minimalism, Color Field precipitating the decline of expressionist energetic gestures and the adoption of spare lines and geometries, flatly painted in vivid color.
A sharp observer of the natural world from a young age inspired by the play of light, space and color in the architecture around him, Ellsworth’s use of found compositions was a source of endless inspiration and lifelong artistic openness which he translated into visually powerful multi-panel paintings, sculptures, drawings, prints, and photographs. 
Ellsworth Kelly nurtured a special relationship with France. After serving as a soldier in the liberation of the country at the end of the Second World War, Kelly returned to live in France from 1948 to 1954, and returning to the country regularly throughout his life. 
He befriended Picasso, Calder, Brancusi, Arp and familiarised himself the works of Matisse, Monet and geometric abstraction which would influence his painting, particularly in his quest for balance and intensity of feeling.

Kim Yong-il explores childhood memories and collective emotions through the recurring motif of the house. Depicting villages, homes, and fragments of everyday life, his paintings evoke the fading traces of lived experiences. For the artist, the house is not merely an architectural structure but a symbolic space where personal memories intersect with shared communal narratives.
Kim’s work unfolds through two visual narratives: the “stories of day” and the “stories of night.” The former presents luminous scenes of houses and fields bathed in sunlight, recalling the vitality and warmth of childhood memories. The latter introduces a quieter and more contemplative atmosphere, shaped by the imagery of moonlight and seolbap—snow that falls around the Lunar New Year. Together, these two modes traverse different layers of time and recollection, expanding personal memory into a shared emotional landscape.
Charcoal plays a crucial role particularly in the “night” series. The material, reminiscent of the charcoal the artist once played with as a child, becomes a medium for recalling memory. By covering the canvas with charcoal and then scraping it away, Kim creates subtle tonal gradations that suggest memories fading or intensifying over time. This process produces a calm atmosphere and generous areas of empty space that invite viewers to project their own recollections into the work.
Rather than merely depicting landscapes, Kim Yong-il’s paintings function as devices that recall disappearing traces of life and communal memory. The expansive blank spaces within his compositions allow the viewer’s memories to enter the work, transforming the artist’s personal narrative into a shared story of nostalgia, empathy, and quiet reflection.

Seongjoon Hong(b.1987) continuously investigates the properties of painting, particularly its mediums and materials. Through various techniques, Hong repeatedly depicts scenes layered with smooth, thin, or translucent membranes that subtly reveal the flat canvas surface and the materials composing it. His works feature delicately colored landscapes where light refracts through layered silhouettes, leaving behind only faint shadows where color and image have dissolved. In his Layers of the air series, for instance, Hong centers soap bubbles on the canvas or positions them just beyond the frame, focusing on their lightness and transparency. By zooming in on these surfaces, he distorts the landscape, allowing waves of projected light to transform his work into abstract paintings.

Hong holds both a BFA and MFA in Fine Arts from Hongik University in Seoul. He has held solo exhibitions including at SEOJUNG ART(Seoul & Busan, 2024), 68projects(Berlin, Germany, 2024), Prompt Project(Seoul, 2023), Galerie BHAK(Seoul, 2022), Pipe Gallery(Seoul, 2022) and Hakgojae Design Project Space(Seoul, 2020). He has also participated in various group shows, including at Art Space Hohwa(Seoul, 2024), Frieze No.9 Cork Street(London, UK, 2024), ThisWeekendRoom(Seoul, 2024), M5 GALLERY(Ginja, Japan, 2023), Art space Hohwa(Seoul, 2023), Galerie BHAK(Seoul, 2022), Seojung Art Center(Seoul, 2022), Koo House Museum(Yangpyeong, 2022), Ilwoo Space(Seoul, 2022), and UARTSPACE(Seoul, 2019). He was selected as a 2020 New Hero by Public Art Magazine and participated in the 68projects Residency(Berlin, Germany, 2023). His works are part of collections at the PARKSEOBO Foundation and Art Space Hohwa.

Chanida Voraphitak is a distinguished illustrator deeply rooted in the realm of graphic design. Having honed her skills as an art director within the fashion magazine industry and mastering the art of animation, she has discovered an ardent devotion to crafting intricate illustrations imbued with an animalistic allure. Her creative process is marked by meticulous research and recollection, resulting in an inimitable amalgamation of line patterns. With an unwavering embrace of limitless imagination and unrestricted material choices, Voraphitak’s manifests captivating works across an array of mediums, spanning drawing, illustration, product and textile design, as well as installations.