Sophie-Yen Bretez is a self-taught ar=st currently living and working in Paris. Originally from Vietnam, Bretez moved to France when she was 4 years old, providing her with a rich fusion of cultural heritage oDen reflected in her mul=faceted ar=s=c prac=ce. ADer comple=ng a master’s Grand École at Neoma Business School in Rouen, France in 2018. Bretez held mul=ple management posi=ons in the crea=ve industries throughout Paris. In 2021, Bretez decided to pursue her passion for art and began crea=ng full =me.
Roo=ng her ar=s=c prac=ce in self-awareness Sophie-Yen Bretez is inspired by the freedom found in observing her own experiences and simultaneously transla=ng them into an enigma=c visual language. Striving to present an infinite dialogue between herself, the pain=ngs and the viewer, Bretez confronts themes of the human condi=on and the complexity of the emo=ons while exploring the rich plurality of her iden=ty as an adopted French Asian woman.
Building upon her signature style of dream-like surrealist figura=on, Bretez’s works explore issues such as trauma, resilience, iden=ty, in=macy, sexuality and empowerment. Focusing on discovering ways in which to mirror the human condi=on in a state of recovery, Bretez oDen includes an illuminated horizon line sta=ng, “I paint horizons for those who have suffered.” By portraying her characters in semi-open spaces with a sunset or sunrise in the background, Bretez blurs the boundaries of the confined ‘safe’ space one builds for themselves in moments of weakness.
Interested in challenging the tradi=onal male gaze Bretez u=lises reverse voyeurism to challenge our societal rela=onship with the naked female body. Unfaltering and strong, the women in Bretez’s pain=ngs look directly out at the spectator, serving to simultaneously create distance and prove they are not at the viewer's disposal rather they assert control of their own bodies.
A natural storyteller Bretez begins each pain=ng with a poem linked to memory. Titling her works aDer these spontaneous and ins=nctual poems Bretez incorporates an addi=onal layer of dialogue between the work, the viewer, and herself.Tes=fying to the in=mate and the universal through substan=ve narra=ves, Bretez seeks to perpetuate a wider reflec=on of poli=cal, societal, and existen=al themes. Messages of hope and perseverance permeate.

His paintings employ layered images of vast natural elements—mountains, oceans, and the 
cosmos—built up through transparent layers

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


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.

Yoonhee Na, a graduate of the Department of Comics and Animation at Sejong University, has been actively publishing since 2014 to the present. She has worked on serials such as <Blind Garden>, <This Magical Moment>, <Whale Star: The Gyeongseong Mermaid>, and <A Heartfelt Andante> and was awarded the Presidential Award at the Korea Content Awards in 2021.

Mónica Loya (b.1990, Mexico) has shown at KÖNIG in Mexico City and exhibited widely across Mexico, the United States, the United Kingdom, and Portugal. Her work merges sharp visual instincts with everyday imagery, constructing dissonant compositions that evoke the surreal logic of dépaysement. Found moments from smartphone snapshots and scenes from daily life are reconstructed on the canvas in new, ambiguous contexts. Through witty compositions, fluid lines, and vibrant tones—often red, blue, and pink—Loya transforms the ordinary into invisible yet emotionally potent events. The viewer is invited to observe and complete the work through their evolving emotional engagement, stepping directly into her open-ended world.

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.

The artist Lee Seokyoung, who expresses the ventilation of everyday life through her painting work, transforms the complex state of daily life into expansive colors and uses the technique of "erasing to draw" on the wet surface of the paint, leaving only visual language and sensory experience. The process of revealing the broad colors on the white canvas creates a space where the body of the painting can take control. The live brushstrokes, made in a single sweep without layering multiple coats, demand the artist's intense concentration and create a composition that breaks free from conventional and rigid systems. In this process, by erasing between the wet paints, the work is not obliterated but reborn through exposure, transforming into a neutral and pure form of language.

Panchat Yodmanee
b.1993, Nakhon Si Thammarat, Thailand

Panchat Yodmanee (Ice) graduated with a Bachelor’s of Fine Arts Degree, from the Department of Thai Art, Faculty of Painting, Sculpture, and Graphic Arts at Silpakorn University.  She is currently pursuing her Master’s of Fine Arts Degree from the Faculty of Painting, Sculpture, and Graphic Arts, also at Silpakorn University.

Yodmanee unveils layers of meaning hidden within the simplest of elements. Through her art, she captures the essence of abundance and tranquility, finding beauty in the ordinary simplicity of soil. Yodmanee's contemplation of a lump of earth reveals a truth of reality that resonates deeply with viewers, evoking a sense of powerful serenity akin to a floating mass soaring through boundless skies.
Her work serves as a vessel for introspection, plunging spectators into a realm where dreams and reality intertwine. Like one of her works, the image of the brave white horse symbolizes themes of freedom, strength, and a timeless connection with nature. Through Yodmanee's art, viewers are invited to transcend the constraints of time and space, exploring the depths of their subconscious minds and discovering profound truths thatresonate across generations.
The artist has also received numerous awards, including the 3rd Prize, The 67th National Art Exhibition in 2022, the Gold Awards, Established Artist Category 12th UOB Painting of the Year, and 1st Prize, Bualuang Gold Medal, Contemporary Painting Category, 39th Bualuang Painting Contest, Bualuang Foundation in 2017.
Her selected and recent solo exhibitions include: "Somewhere in the blue heart," Galerie Sarto, Paris, France, 2023; “A little letter from somewhere someone,” Process-passion, Galerie Sarto, Paris, France, 2021. Selected group exhibitions include: “TBC,” Tang Contemporary Art, Bangkok, 2024; “Echoes of Beauty,” Iconsiam, Tang Contemporary Art, Bangkok, 2021; “Time-Lapse: Reflecting on Thai Art,” 333 Anywhere Art Gallery, Bangkok, Thailand, 2021; “Particle,” Joyman Gallery, Bangkok, Thailand, 2018.

Seonjeong Wang (b. 1990, KR) lives and works in Seoul (KR). She received her Bachelor of Fine Arts from Korea National University of Arts and completed her Master's degree at the same institution. She has been selected as one of the finalists of Arte Laguna Art Prize, Venice in 2018. In her artistic practice, she explores the relationship between social consensus on moral values and the pursuit of desire or pleasure. Portraits being her main practice, figures in her work are expressed with the use of vivid colour tones and expressive yet faint brushstrokes.
 
Wang’s recent solo and group exhibitions include: Love letters from hell, Enseoul gallery. Amsterdam, the Netherlands; With a loving heart, UARTSPACE, Seoul (KR); My Beatrice; IDOL, UARTSPACE, Seoul (KR); Children Crossing the Night, Seoul National University Museum of Art, Seoul (KR); The body of modern painting, National Museum of Modern and Contemporary Art Cheongju, Cheongju (KR)

Maverick Abac's practice explores painting and collages on various media as a reflection of his consciousness and upbringing. Navigating the realm of memory, his works are known best for their pop surrealist meditations of our individual and collective psychological experiences.

Yan Lei (b. 1965, Hebei, China) graduated from the Zhejiang Academy of Fine Arts (now known as the China Academy of Art) in Hangzhou in 1991. Yan is a singular and unconventional figure in the Chinese contemporary art world. Adopting an independent and distant attitude, he explores and
unveils different issues, such as power relationships, competition or the closeness of values and prices that exist in the art system through various media including painting, sculpture, installation, video, and performance. His works often incorporate multiple and contradictory values. This
ambiguousness shows, on the one hand, the artist’s alertness to and reflection on the various problems in art making today and, on the other hand, the solitude that he feels from being part of the system and his complex feelings confronted with vulgar reality.

Abang is regarded as one of the most famous artists for her unique and romantic depiction of us enjoying the modern day, which she achieves by using vibrant colours to reveal the mysterious line between daily life and the non-daily. After receiving a master's degree in illustration from London's Kingston University, she began to paint free-living individuals in vivid colours. Based on the catchphrase “Fun, Witty, and Romantic”, she is currently operating her own brand of design products called “My Real Abang,” including graphics for numerous periodicals, webzines, and album covers. Abang explores “things that keep my life rich, free, sexy and warm” throughout her works, and is actively collaborating with worldwide brands such as Spotify and Valentino, as well as broadcasting, product, and fashion firms to develop an 'Abang-like' style. 

Boonhlue Yangsouy has created exquisitely aesthetic and individual arts. He has participated many group and solo exhibitions. “Behavior = Identity” 2015, “Lady and Chandelier” 2017, “Love Is” 2019, “The Spirit of Six” 2019 and international stages including Art Expo Malaysia Plus 2017, Art Central Hong Kong 2019, Art Expo Malaysia 2019, Art Fair Philippines 2020, ART CENTRAL 2023 , ART CENTRAL 2024 and Art Busan 2023.


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.

Kyukun Kang depicts the narrative in the uncertainty of daily life, which consists of light and darkness. After completing a bachelor's degree in Western painting at Gachon University and a master's degree in Western painting at Sungkyunkwan University, he has continued to draw unpredictable scenarios on canvas. His work, which reflects ordinary daily life and characters, includes clear contrary between light and shadow. Through an anxious, dreamy, and melancholy atmosphere, the artist takes the audience into their inherent stories. As a beginning point for his paintings he uses people's unstable features exposed to an unpredictable future, thereby inspiring people's imagination of events that would occur after the scene. 

Through photoscollected via the web, Kim's work embodies the imagined nature and conveys it as though it had been experienced in real life. While traditionalartworks convey nature seen through sight as seen while painting, Kim captures the essence of the asynchronous image seized throughphotography. The "On the waves." series expresses the location and moment where fiction and reality collide by overlapping the seasons andweather experienced on an anonymous beach and in real life. With shards of senses colliding and combining, these pieces try to aggregateeveryday life with remnants of incidental sensations. The imagined sense of movement is artistically articulated, recreated with a thin sense ofspace, and placed on a canvas based on digital photographs. It takes in the image from the monitor and applies a tiny bit of creativity to create awhole new visual world. The moment's image is caught and the invisible components are conveyed visually through the waves that carry theseason's colors. By contemplating and creating a virtual environment, Kim continues her search to find a distinct depth amid the priceless andsuperficial details of precise pieces. By doing this, she emphasizes leaving sensory imprints and communicating beyond the confines of realityand fantasy.

Kwak Soo Young is an artist whose practice explores memory and inner time through light, line, and the material layers of painting. After graduating from the Department of Painting at Hongik University, he moved to France and earned an M.F.A. in Plastic Arts from Paris 8 University. Since then, he has developed a distinctive painterly language while working between Korea and France. In Kwak’s work, light is not simply a physical phenomenon that illuminates the visible world; rather, it becomes a medium through which memories, sensations, and images buried deep within the mind gradually emerge.

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.

Eun Lee is a visual artist who captures the quiet wonder found in everyday landscapes. Inspired by ordinary moments such as grass moving in the wind or subtle shifts in natural light, her paintings begin with familiar scenes and gradually guide the viewer into spaces where the boundaries of reality begin to soften. Her work exists in a place where what is real and what is imagined gently overlap, inviting moments of reflection and emotional depth.
Rather than aiming to reproduce nature exactly as it appears, Lee focuses on its quiet contradictions. She often combines elements that do not typically appear together, such as vegetation from different climates or light that could belong to either sunrise or sunset. These thoughtful combinations create a gentle sense of disorientation, encouraging the viewer to step into a space that feels both real and dreamlike.
Lee’s paintings are deeply personal and shaped by her own memories and experiences. She describes them as variations of time and stories she has lived. Although the work is rooted in her own life, it speaks in a language that others can understand and relate to. Her landscapes become open spaces where viewers may recognize something of their own inner world.
A central idea in her practice is the creation of a safe and protective space within the painted scene. Each work offers a moment of pause, away from the urgency and unpredictability of daily life. These are spaces of protection, offering both the artist and the viewer a chance to rest, observe, and feel at ease. In this way, her paintings become more than visual expressions. They become emotional environments that invite peace and contemplation.
Eun Lee is a visual artist who captures the quiet wonder found in everyday landscapes. Inspired by ordinary moments such as grass moving in the wind or subtle shifts in natural light, her paintings begin with familiar scenes and gradually guide the viewer into spaces where the boundaries of reality begin to soften. Her work exists in a place where what is real and what is imagined gently overlap, inviting moments of reflection and emotional depth.
Rather than aiming to reproduce nature exactly as it appears, Lee focuses on its quiet contradictions. She often combines elements that do not typically appear together, such as vegetation from different climates or light that could belong to either sunrise or sunset. These thoughtful combinations create a gentle sense of disorientation, encouraging the viewer to step into a space that feels both real and dreamlike.
Lee’s paintings are deeply personal and shaped by her own memories and experiences. She describes them as variations of time and stories she has lived. Although the work is rooted in her own life, it speaks in a language that others can understand and relate to. Her landscapes become open spaces where viewers may recognize something of their own inner world.
A central idea in her practice is the creation of a safe and protective space withi

Born in 1993 in Osaka, the artist began their career as a tattoo artist. Since 2014, they have been based in Tokyo, working first as a staff member at a Harajuku apparel multishop, before expanding into graphic design. They later established their own tattoo studio and office, "TAPPEI ROOM," in Nakameguro.
In 2022, they collaborated with brands such as NIKE, UNDERCOVER, and BEAMS. In 2023, they made their debut as a guest tattoo artist overseas and began publishing a four-panel comic series in the culture magazine EYESCREAM.
They work across a wide range of media, using everything from canvas and their own body to human skin, paper, and clothing as platforms for expression.

Michael Sailstorfer’s site-specific interventions emphasize transformation and challenge conventional rubrics of sculpture. He gives objects new meanings and functions by reconfiguring, though not deconstructing, them. Much of Sailstorfer’s work involves breaking down an object to reveal its physical components, as in the case of Zeit ist keine Autobahn (Time is not a motorway) (2005). The work features a spinning, motor-powered tire pressed against a wall; as the tire wears down, rubber particles collect on the floor and the scent of burning rubber fills the installation space. Sailstorfer cites the site-specific, performative work of Gordon Matta-Clark as a key influence, and says he is “interested in what sculpture can be and how a sculpture can spread out and use much more space than it physically has.”

Kitti Narod trained at Wi`ayalai Pohchang Art College, Bangkok, from 1996 - 1998, and later obtained his Bachelor of Arts degree from the Rajamonkong Ins=tute of Technology in 2000. He has exhibited extensively both domes=cally and interna=onally, including in Singapore, London, Bath, Edinburgh, Manchester, Dublin, Cork, Montreal, and Melbourne.
Ki} Narod creates pain=ngs that convey a sense of joy and op=mism through gentle and warm portrayals of daily life and human rela=onships. In his pain=ngs, everyone and everything exist together in a utopia. This no=on may seem unrealis=c to some, especially during an era of social division, but the ar=st’s work tries to remind us to appreciate the simple pleasures and raise a`en=on to everyday mundane ma`ers. In which, euphoric feelings will not seem so una`ainable. The ar=st considers his works to be an intersec=on for diversity, where all the physical and spiritual are equal.
Ki} Narod’s recent solo exhibi=ons include “Summer Wind”, Tang Contemporary Art (Hong Kong Sar, China, 2022; “Fragrant City: Ki} Narod Solo Exhibi=on”, Tang Contemporary Art, Bangkok (Thailand, 2021); “Roles in Life”, We Gallery, Shenzhen (China, 2020); “Joy Land”, Tang Contemporary Art, Bangkok (Thailand, 2020); “Ki} Narod Exhibi=on by O‘logy”, PPP, Taipei, Taiwan (China, 2019). Recent group exhibi=ons include “Falling”, Tang Contemporary Art, Beijing (China, 2022); “The Space Between Us II” at ICONSIAM, Tang Contemporary Art, Bangkok (Thailand, 2021); “The Space Between Us I” at ICONSIAM, Tang Contemporary Art, Bangkok (Thailand, 2020); “A Silent Voice”, Tang Contemporary Art, Bangkok (Thailand, 2020); “Spectrosynthesis II - Exposure of Tolerance: LGBTQ in Southeast Asia”, Bangkok Art and Culture Centre (BACC), Bangkok (Thailand, 2019).

Resonance Moment

Color of Charity

Hommage to raymond briggs

Queen of Spade

Life is a game

Hommage to Raymond Briggs 

Snowman

Sacrament

The Moment of Creation

ike the river running to the sea, Years and days in their wild race Spill drops of memories of gold and blue, Where sorrow and joy have their place, And suddenly, life begins anew, - And suddenly, it's dawn.

Oh 6me! With clear, wandering flow, Within thy wave the sun whispers low And tell my soul-searching eyes Close to the sea the truth lies. - And in the middle runs a river.

Artists