Gyubin Seong’s work is based on his everyday joy, interest, and curiosity about his neighbours. She is developing his potential through various artistic endeavours while studying for a degree in fine art at the Seoul National University of Science and Technology. She finds comfort and love in the insignificant moments of daily life, reconstructing them with his mind. Instead of a formal description, she frequently transforms shapes to capture the mood and feelings of the moment. She brings warm memories to the audience through sensitive observation and expression that evokes the senses of sight, hearing, and scent.

Phatcharaphan Raiva is a graduate of Chulalongkorn University’s Faculty of Fine Arts and Applied Arts.
Phatcha’s career as an artist has grown exponentially since her graduation in 2008. Her father, an artist, has had a great influence on her work. After a very successful solo exhibition in 2014, she participated in the 2nd International Watercolor Competition in Thessaloniki, Greece.
Since then, she has participated in many international watercolor exhibitions and biennials, including the 1st International Watercolor Biennial 2016 in Hong Kong and the 2nd International Watercolor Biennial 2017 in Tirana, Albania.

At age 16 Marcelo began exhibiting his work as part of group shows. This he accomplished without formal art training. Driven by a passion for drawing and the encouragement of his uncle, at an early age he explored his interest in colour through the use of watercolours, pastels and coloured pencil. Later he completed a course in art at the Catholic University in Santiago.

His early works were heavily focused on religious themes, influenced by colonial baroque artists such as Bolivian Master of Calamarca, Peruvian Holguin and Italian Bitti among others. This first phase in his career lasted more than five years. Then, he discovered the force and the language of colour. Later his influence came mainly from Brueguel, Bosch, Carrington, Dali, Kahlo and Borda to name a few. This led to a second phase which he calls the “apocalypse” phase and subsequently the “altiplano magico” phase.

For years Marcelo has been engaged in the exploration of another symbolic language. The repetition of the Bolivian altiplano landscape is evident in his work. This is the landscape of his childhood and the memory of the scenery haunts him – it is magical with great power and energy.

The images in Marcelo’s paintings are at the same time whimsical, complex, absurd and surreal. These images appear to him at moments throughout the day and he is compelled to record them as sketches in order not to lose the phantasm.

Georg Baselitz has had a profound influence on international art since 1980 and is indisputably one of the most important artists of our time. He shaped a new identity for German art in the second half of the 20th century; in reaction to the trauma and tragedy of the Second World War, he developed an artistic vocabulary which draws on the work of his forebears, whilst remaining unique and wholly individual. Since then, Baselitz has consistently renewed his practice through formal developments, often responding to art history and his own extensive oeuvre to develop his central themes through an ever-evolving, yet distinct, mode of artistic expression.

The artist has been painting his compositions upside down since 1969. For Baselitz, this novel format was a way of emptying form of its content, navigating between abstraction and figuration, and revolutionising a medium that was then regarded as irredeemably conventional. His directly tactile method of painting with his fingers in the 1970s encouraged a freer use of colour and material that would come to the fore in his expressionist colour fields of the 1980s. This was a seminal decade for the artist, opening with his selection to represent Germany at the 1980 Venice Biennale alongside Anselm Kiefer, which marked his first foray into sculpture.

Alex Face (Patcharapon Tangruen) is a renowned Thai graffiti artist celebrated for his thought-provoking street art that transcends boundaries in Thailand and beyond. In 2009,
inspired by his newfound fatherhood, he introduced a distinctive three-eyed, bunny-eared character symbolizing innocence and wonder. Known for his street art skills and mastery of European old masters' techniques, Alex Face has seamlessly blended traditional and contemporary elements. In 2022, he marks two decades in the realms of street art and BANGKOK CITY CITY GALLERY fine arts, leaving an indelible imprint on the urban landscape and art scene worldwide


Yejun Ryu explores life, death, and absence through human forms in his "Mori" sculpture series.


Atreyu Moniaga is an Indonesian artist based in Jakarta. He gradu- ated with a degree in Communications and Visual Design from the Jakarta Institute of the Arts (IKJ) and started his career in the creative scene as a freelance illustrator and photographer. His works are influ- enced by dark fantasies with a tinge of surrealism, in which he com- bines visual symbolisms as a way to communicate his most private thoughts, feelings, and desires. Although he takes inspiration from somber sentients, his works are characterized by a whimsical universe filled with beautiful ornamental details. Working primarily in paint- ing and drawing, Atreyu has recently explored sculpting and remains open to cross-disciplinary collaborations. 

Complex emotions that are often perceived as negative, such as despair, grief, and anguish but they are fuels to his artistic process. Moniaga tries to convey these emotions through the visual universe he invented. Incorporating reference from popular culture, medie- val legends, and religious stories, Moniaga crafts symbols and coded visual languages in his paintings as a way to express his innermost thoughts, feelings, and desires. He hopes his audience can find a source of hopefulness and self-acceptance to confront their own grim facets. He often allows himself to be lost in his own thoughts, where He feels unbound in creating these fictional stories and characters found in his works, his universe. 

Chu Mirim(b. 1982) is based is Seoul. Using pixels as elements in her work, Chu engages in formative experiments that go beyond design and fine art. She critically explores keywords related to computer graphics, pixels, and the internet etc., and she has great interest in producing work where the cross- sectional aspect of images used in social network sites may be viewed from various angles. All her works, in particular, transform a visually hidden web-based society into a series of images, reflecting the artist’s intention to directly present the digital landscape around us. As time passes, her perspective which looks at the life forms of the contemporary young generation gets brought out across a more diverse spectrum.

Hime was born in Osaka, Japan in 1986. 
From 2004 to 2007, he studied in the Comic Art Course at the Faculty of Manga, Kyoto Seika University. In 2008, Hime entered the fashion industry and embarked on his journey as a fashion photographer. In 2013, he moved to the United States for foreign brand shoots and returned to Tokyo the following year. Starting from 2019, he also pursued a freelance career as a digital illustrator, including clothing prints, music album covers, live performance and pop-up event posters. In late 2020, Hime painted his first artwork using acrylic on canvas, which was exhibited at artKYOTO, marking the beginning of his artist career. His works mainly feature women with an 80s aesthetic and have garnered widespread attention, making him a highly acclaimed artist.

Dong Hyuk Lee explores the spaces and objects that once reflected people’s beliefs and origins, but at some point were abandoned and have come to wither away. Lee imbues his experiences and memories onto various objects such as chairs, glasses, pianos, and crosses that have been left in ruins and paints landscapes and portraits that emerge from the stories he gathered on these objects. As such is his process, the space and objects he captures first reveal the artist’s beliefs and subjective rendering. On the other hand, Lee has experimented with and immersed himself in various compositional elements such as symbolic figures, signs, and colors in the pictorial dimension so that his work is not composed solely of the subjective. Continuing this artistic exploration, his recent works embody the act of “seeing” itself, which reflects the artist’s will to examine the multi-layered nuances of the operation of recognition and identification of the object’s significance within the methodology of painting.

 A JiHye abstractly depicts the inner energy that blossoms from her subconscious in her works. She primarily works with acrylic and colored pencils, utilizing striking contrasts of vivid colors to convey a sense of brightness and vitality—one of the defining characteristics of her art.
 Beyond her personal artistic practice, A JiHye is also the co-founder and designer of the design studio Sparks Edition. Additionally, she is an active member of Spectrum Object, a collective of creators from various fields. Through Spectrum Object, she explores the intersection of visual art and diverse cultural content, particularly music, translating these inspirations into paintings. In 2017, she produced a series titled Layer along with an accompanying art book, and more recently, she has been working under the theme BLOOMERS, expressing forms in the act of blooming. In 2019, she co-curated the exhibition DANCING BLUE at AvenueL Art Hall alongside her creative and life partner, artist Jun-Oh Jang. The exhibition was an attempt to capture their respective artistic expressions and individuality through shades of blue.
Through Sparks Edition, A JiHye has contributed to the branding and artwork for various musicians, including BTS’s fourth studio album MAP OF THE SOUL: 7, 10cm, and LE SSERAFIM. She has also worked on brand identity projects such as IOPE, demonstrating her ability to transcend genres and disciplines, consistently delivering innovative visual creations across different fields.

Influenced by Dansaekhwa, the Korean monochrome painting, and the Japanese Mono-ha movement, Kim Yong-Ik established his career in the late 1970s with his Plane Object paintings, a series of airbrush paintings on unstretched canvases that relate to these traditions. In the 1980s, having completed a thesis on Marcel Duchamp, Kim moved from the ‘Plane Object’ series to more abstract and geometric languages. During the 1980s and 1990s, he developed increasingly experimental work by using scraps and thus including forces greater than his own imprint, such as stains, hair or dust. By the early 1990s, Kim develops his “polka dot” series consisting of paintings depicting simple and serialized arrangements of circles.

In 1999, Kim helped establish one of Korea’s leading exhibition spaces known as “art space pool.” He participated in the Gwangju Biennale in 2002; in “SeMA Gold 2012: Hidden Track,” an exhibition at the Seoul Museum to shed light on stellar artworks by mid-career artists of Korea; and the 5th Yokohama Triennial in 2014. In 2016 Kim was the subject of an extensive retrospective at Ilmin Museum of Art in Seoul. His first exhibitions in Europe were at Spike Island, Bristol, and a partner exhibition at the Korean Cultural Centre UK, in 2017.  Kim Yong-Ik’s works are part of the permanent collections of the National Museum of Modern and Contemporary Art, Seoul Art Museum, Leeum, Samsung Art Museum and Tokyo Metropolitan Museum of Art, and the Museum of Contemporary Art in Los Angeles, among others.

My faint light bent in a wavering arc. Swaying with unease and fragility, I barely traced a dim glimmer. I moved toward the light—clear in aim, but lost in direction. I gradually developed a sense for detecting and escaping the abyss of despair and the weight of its repeating patterns. Each crisis sharpened my acuity. I responded finely, moved in subtle steps. What may seem like reckless intuition was swift judgment, honed by time. The hours carved into my heart fed my intuition, nurtured my sensitivity. I evolved, bracing for the next trial. Sensitivity became my chosen trait— a way to survive, a skill to catch even the faintest light. I twisted, reached, and stretched as far as I could. Through the ground, into the sky. I bask in everything. /Text. DuRi Baek

Yuya Saito was born in Kesennuma City, Miyagi Prefecture. After graduating from the University of Central Oklahoma, USA, he is currently based in New York (Brooklyn). Inspired by skateboarding, which he started as a child, he has set up a new visual language for the streets, “Curved Shape,” and presents his work on the “Relationship between human and the city.” In cities, people, goods, and events converge, the same scenery never repeats itself. Saito perceives the repetition of countless dramas that arise and disappear as key for fostering culture. Also, after the Great East Japan Earthquake in 2011, my hometown was so easily wiped out by the tsunami that I learned about the vulnerability of cities. "Culture that has been fostered because of chaos, and confusion that has arisen because of chaos." Saito believes that the city that has taken on this contradiction holds the key to expressing humans as irrational and cultural creatures. In addition to the unique work of curved surfaces, by intersecting multiple projects such as public art, digital works, and collaboration works with city-related artists, Saito is trying to cut out the present of the city that crosses areas.

Manjae (Park Juhyun) has devoted his painting practice to a single, inexhaustible subject: the dokkaebi, Korea's indigenous supernatural being. Rather than merely depicting this trickster spirit, his large-scale acrylic paintings make its sinmyo (神妙) — the quality of being at once numinous and unfathomable — directly available to the senses. Densely packed canvases teem with all things in creation: mythic animals and plants, East Asian architectural motifs, machines and airplanes, and crowds of figures whose status, dress, and gesture each hint at their own symbolism, dispersed across the picture without a single center.

Japanese artist Ken Kagami is known for his brashly humorous and playfully erotic works that involve stuffed toys, exposed genitals and bodily functions. Often merging Pop figures with bizarre, appropriative add-ons or colorful appendages, Kagami challenges contemporary Pop art sensibilities. The artist is also known for his collaborations with the band Deerhoof and since 2010, Kagami has operated the Strange Store, a retail space in Tokyo that sells clothing, objects, and printed ephemera.

Jung Kwang Ho, who aims to weave between painting and sculpture, desires to explore the essence and interpretation of sculpture in particular. A sculpture is a tangible representation of an image manifested by the sculptor using materials, techniques, and tools to create a specific object in a particular way. Jung oxymoronically refers to his works as "non-sculptural sculptures," as he works with non-sculptural properties to create essentially sculptural works. The paradoxical expression is part of how he explores the essence of sculpture. The artist made no distinction between inside and outside, instead exposing the surface and penetrating through to suggest that surfaces are merely the superficial layer of sculptural essence and the surface of reality.
Jung presented solo exhibitions in various museums worldwide, including the Stedelijk Museum in Amsterdam, Art Sonje Museum in Gyeongju, Kumho Art Museum in Seoul, Gallery Thomas in Munich, Lumen Gallery in Paris, and Canvas International Art Gallery in Amsterdam. He also participated in significant group exhibitions at institutions such as the Seoul Museum of Art, Samsung Museum of Art Leeum, Singapore Art Museum, and Gyeonggi Museum of Art. His works are held in various collections, including the National Museum of Modern and Contemporary Art, Daejeon Museum of Art, Hanlim Museum of Art, Sonje Museum of Contemporary Art, and Ho-Am Art Museum.


Floating Selves, a Solidarity of Resonance
I do not trust the notion of a fixed self. Although the self is often defined in psychology as a unique and coherent identity, such a concept is fundamentally insufficient to capture the complexity and fluidity of the human inner world. Within the rapidly shifting currents of contemporary society, modern identity is continuously dismantled and dispersed, leaving us to drift through the world without a clear outline. In this process, fragile emotions are frequently fragmented, and coherent temporality and narrative lose their boundaries, often becoming powerless. Thus, the core and backdrop of my work is the visualization of the process through which incomplete beings of our time gather their own fragments—a “psychological safe zone.”
This psychological safe zone is not a simple refuge where all pain and conflict are resolved, nor a complete utopia. Rather, it is a place where beings that remain incomplete choose confrontation over avoidance, flow over closure, and bear their own rhythms as they pause, exploring transformation and recovery.

This space is realized as an unfamiliar and heterogeneous landscape inhabited primarily by anomalous life forms. These settings are not actual places but multidimensional spaces onto which inner sensations are projected—complex structures in which memory and imagination, fear and desire, are interwoven. The beings that appear possess organic, hybrid forms and identities that are never fixed. Figures wearing animal masks, unfamiliar beasts, and winged mammals all symbolize the fragmentation and reassembly of the self, actively driving their own narratives. Rather than isolating and defending themselves from the external world, they form spaces as open fields of relation where emotions and existence connect. Within these spaces, the self is once again experimented with, and resonance aligns itself with reality in solidarity.

The beings that appear in the work carry no fixed meanings. They are less identities than possibilities of identity, or states that the artist senses within lived reality. Through these scenes, the viewer is invited not to find comfort or definitive meaning, but to enter an unstable condition reliant on sensation. Selves pass through intermediate points toward a more complete form of being. This is not a process of healing but of individuation—a provisional space that allows one to form personal boundaries through resonance with the surrounding world. This space does not seek to establish a private order, but to explore the very possibility of order itself. It is always precarious. Yet it is precisely within this precarity that the hope emerges that the self may finally be contemplated.
“How far did the boundary extend before complete collapse, and in what form might it be rebuilt?”
The work offers no clear answers. Instead, within landscapes that hold this question, beings continue to move and transform. I remain within this space.

Artist Jamsan is an artist who moves fluidly between the commercial and fine art fields, engaging in a wide range of creative practices. In the early stages of his painting career, he developed Mastic Art—a new approach that reconstructs materials such as cement, brass, and steel, merging sculpture and painting into a unique artistic language.

Recognized as one of Korea’s leading concept artists, he has produced outstanding works in advertising and art since 2004. His major projects include the concept art for Seo Taiji’s “Sogyeokdong” album, Nike’s Park Ji-sung CF, and Samsung Galaxy Note 2. He was selected as a representative Korean artist for the 2018 PyeongChang Winter Olympics (15 Featured Korean Artists), and in 2020, he created the concept art for the tvN drama “It’s Okay to Not Be Okay.”

Currently, Jamsan is widely loved for his “Red Chair” and “Rose from the Star” series. Continuing to introduce new bodies of work, he is shaping and expanding a genre he defines as “Surreal Fantasy Painting.”

Hyeon-A Cho is currently working in Seoul and made her debut in 2014 with a short story series titled <Water tank> on Naver Webtoon's Rookies's short stories. The following year, she posted another short story, <Lunar New Year's Eve>, on the same platform. In 2018, she received the 2019 Today's Our Comics Award and the China Jinlong Award for Foreign Comics for her work <Your Letter>. Currently, <Your Letter> is being produced as a theatrical animation and plans are underway to publish a North American comic book version soon. While drawing advertisements and cover illustrations for young adult novels, she is preparing for her next work, <Santa Scout>.

Eunju Kim attempts to sense light and capture it as a unit of particles and waves. After earning a bachelor's degree in Western painting at Chung-Ang University and a master's degree in the School of Fine Art at the graduate institution, she is exhibiting her works in various venues. The artist creates her own artistic universe by casting light and circular units over all objects. Focus on the shape of light projected onto the object rather than the object itself, and consider the origin of visible and invisible beings and include them in her works. 

Yohei Yama is drawn to elemental energies and his hypnotic works lay claim to the
transcendent power of art to heal, or to atone. From the paralyzing aftermath of the 2011
nuclear disaster in Fukushima sprang the essential motifs that characterize his work – little
trees, rays of light and swirling winds bridge and rebuild the bond between the artist and
nature.

Jack Kabangu (b.1996, Zambian) is a Copenhagen-based self-taught contemporary artist whose practice fuses the rhythms of urban culture with the layered identity of the African diaspora. His paintings are charged with bold color contrasts, tactile textures, and recurring mask-like faces that recall both tribal iconography and contemporary street culture. Drawing inspiration from graffiti, hip-hop, and personal memory, Kabangu stages the dualities of joy and pain, beauty and ugliness, light and darkness in a raw yet poetic manner. Using brushes, fingers, and scrapers, he leaves visceral traces that infuse his canvases with immediacy, evoking echoes of Jean-Michel Basquiat while forging a distinct visual language of his own. Rapidly gaining international recognition through exhibitions across Europe, Asia, and the U.S., Kabangu is emerging as one of the most compelling voices reimagining identity and expression in today’s global art scene.