Landscape Opens Into ‘The Returning Place’

My paintings explore how landscape opens into The Returning Place.
I am drawn to moments that seem suspended—clouds before they dissolve, waves gathering, or a sky just before night arrives. These fleeting states appear to hold something not yet fully revealed.
Recurring forms such as clouds, waves, moons, and horizons appear throughout my work. What first appears as landscape slowly unfolds into place. Through perception and lived experience, familiar scenes begin to reveal themselves differently.

Rather than depicting real places, I paint the imagination waiting within familiar landscapes. In this sense, my landscapes are not destinations but thresholds—places where perception, memory, and possibility quietly overlap.

My paintings move toward The Returning Place—a place that feels newly encountered yet strangely
remembered, as if it had always been there.

HYEONYOUNG KIM interprets and visualizes phenomena by substituting accidental events in life into the materiality inherent in clay.
She challenges traditional ceramic paradigms while studying the inherent potential of clay.
Unpredictable and uncontrollable elements serve as the key to completing her world of work, and just as gypsies read the meaning through the coffee powder phenomenon at the bottom of a coffee cup, she also attempts to interpret the meaning of an accidental phenomenon discovered in the course of her work.
Through this, this old material, which was considered somewhat boring or monotonous, is newly recognized in modern times.


Yun Taein’s practice can be understood as an exploration of how soft and fluid materiality shifts into the language of structure and form. Taking materials such as clay and sponge—substances that respond sensitively to external pressure and contact—as her point of departure, the artist attends closely to the moments in which the movement of the hand, the resistance of the material, and the incidental traces produced in the making process become layered and accumulated. Impressions, curves, smudges, and tears left on the surface are not treated merely as by-products of process, but as formative clues that anticipate the structure of the work to come. In particular, organic forms that emerge in a pliable state are later transferred into materials of opposing character through processes such as metal casting or wood carving, allowing the traces of softness to become newly embedded within hard and solid matter. In this way, Yoon Taein’s work delicately reveals the moment in which one materiality is translated into another, traversing sensation and structure, pliancy and solidity, accident and construction. While her furniture and objects reference functional forms, they do not remain confined to the realm of utility; instead, holding within them the residue of sensation and the memory of material, they invite reflection on the sculptural potential inherent in softness.

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.

Art Jeeno or Piyaphach Jeeno (Born in 1987) stands as a revered artist whose influence resonates deeply within the manga community. Following the completion of his undergraduate studies at the Faculty of Fine Arts, Chiang Mai University, he immersed himself entirely in the art of manga. His mastery of intricate line work and distinctive coloring techniques has set him apart, earning him prestigious accolades at the 7th, 8th, and 14th Japan International Manga Awards. These achievements have not only propelled him to prominence but have also unveiled his remarkable talents to a captivated Japanese audience. Furthermore, his manga series, Juice #1, Juice #2, and Juice 3, have been published and distributed in France, affirming his global impact and artistic legacy. 

Art Jeeno’s journey in the art scene began in 2013 with “Now” (2013), a solo exhibition held in Chiang Mai, followed by “Now2” (2017) at Gallery 36 in Bangkok. He has also had the opportunity to exhibit in group exhibitions such as “When Snowflakes Fall” (2022) and “To the moon and (never) back” (2023) at River City Bangkok, which showcased Art Jeeno’s ability to convey the delicate and ephemeral thoughts an emotions of humans through facial expressions and actions, which have become his distinctive artistic signature. His exhibition “A Cold Day in July” (2024) at River City Bangkok marked his first solo show in seven years, representing a pivotal moment in his artistic journey. This exhibition stands as a significant milestone for Art Jeeno, highlighting his growth and unique contribution to the art world and also received a warm welcome from the media and collectors, and all paintings were sold out.


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.

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. 

Benedikt Hipp(b.1977), who studied at the Munich University of Arts in Germany, the University of Bologna in Italy, and the Academy of Bildenden Künste Nürnberg in Germany, has participated in internationally renowned exhibitions. These include the Wilhelm-Hack-Museum Ludwigshafen (2015), Kunstverein Bielefeld (2010), Kunst Palace Erlangen (2012), Art Babe Statement (2009), and Art Babe Statement (2009). He has also taken part in collaborative events like Musée d'Art Contemporain Bordeaux in 2012 and Kunstverein Hannover in 2012.
In 2020-21, he was awarded the prestigious "Roman Award Fellowship" at the German Academy Villa Massimo, one of the most distinguished artist awards in Europe. He currently resides and works in Munich and Rome, Germany, within the European context.


Greg Haberny is an American artist and filmmaker based in New York. Haberny's artist residencies include The Fountainhead Residency and McColl Center for Art + Innovation. In 2016, Haberny held an exhibition called 'Py•r•o·glyph•s' at the Catinca Tabacaru Gallery in New York. His works for this exhibition were based on the process of burning his old artworks and creating new ones from the ashes.

Artist GBDAY’s interest in art grew when he first encountered skateboarding culture and fashion during his adolescence. The artist later began to work on graphics and paintings during his studies in graphic design at university. His artistic stage name, "GBDAY," stands for "Good Day & Bad Day," which contains the artist's desire to illustrate different experiences and emotions of his daily life.

His stage name and its meaning profoundly influenced the world of his work and its creation. 

The artist gains inspiration from human relationships, emotions, and social phenomena he captures daily. His work mainly deals with themes around love, separation, emptiness, and death. The artist links these themes with the skeleton motif, influenced by tattoos, skateboarding culture, and
hip-hop and band music he listened to. The Skeleton motif symbolizes an equal and pure being that everyone, regardless of gender or race, can sympathize with and illustrates the world beyond reality and death. Moreover, Cherry denotes the uncertainty of life, desire, and fruition, and Butterfly portrays life after a newborn death. 

GBDAY uses drawing as a subject that best reveals himself. His works mainly focus on graffiti and pen drawings, although he continuously experiments with various styles and media to develop a unique work. He currently uses graphite and acrylic paints for most of his works, aiming to expand his ways of expression. Furthermore, the artist frequently presents parody-based works where he adds a twist to an existing painting or work that may be familiar to the audience. The artist claims he enjoys creating parody-based works because he wishes his audience to approach art more easily and have some fun interacting with his work. 

"Life Goes On" is a message that signifies not only GBDAY's art but also his life philosophy.

The artist intends to deliver joy and happiness to the audience through his work, conveying the bliss of our life journey. GBDAY is interested in exploring new styles and materials to convey a wider range of emotions in his art.

I once read a column by a Korean journalist. In it, he recounted a moment during his travels in the Middle East when he suddenly remembered a novel he had read in his youth that had left a deep impression on him. On a whim, he stepped into a shop and purchased a carpet. Rather than placing it on the floor, he brought it home and hung it on the wall as a decoration.

While working on my own practice, I found myself struggling for a time, unsure of what kind of painting I should make. Some pieces came easily, but others did not. As I looked at the discarded canvas and paint, I tried to understand the cause, but I could only feel lost and uncertain. Recently, however, I had a chance to look deeper into myself. A few significant events—some big, some small—created that opportunity. I began to retrace memories I had previously passed over without much thought, flipping through old photo albums, selecting images that resonated with me in a different way than before. I even read the novel that had inspired the journalist.

In the novel, the carpet is a gift given to the protagonist by an old poet when asked what life is. Only later, after experiencing the various hardships of life, does the protagonist come to understand its meaning. The carpet affirms the purposelessness of life. Just as the weaver wove the carpet to fulfill their own aesthetic sensibility, without any other purpose, we too must accept that life is not about clinging to each and every event, but about recognizing that our own pattern is gradually taking shape.

Reflecting on the story, I felt a sense of peace. Like the weaver crafting the carpet, like the journalist who chose to hang it on the wall rather than lay it on the floor, I fixed raw canvas directly to the wall, without a frame, and traced its surface with dry, short brushstrokes, as if following the warp threads of a carpet. This method of working felt natural. As I focused on the rough texture of the brushstrokes, the painting began to take on a pattern of its own.

Peachful, an artist and storyteller whose delicate linework evokes the warmth of childhood fairytales and offers a gentle embrace to every feeling you’ve ever ticked away.

Glen Wilson's multi-disciplinary practice is comprised of photography, sculpture, filmmaking, installation, and assemblage. Provoking questions around voice, visibility, and cartography, Wilson’s works suggest fluid narratives of place, diaspora, cultural heritage, and the intersections of individual and communal identity. Wilson received a B.A. from Yale University, New Haven, CT and an M.F.A. from the University of California San Diego. Recent group exhibitions include the Getty Center, Los Angeles; California African-American Museum, Los Angeles; the Museum of Contemporary Art, Los Angeles, CA; Honor Fraser, Los Angeles, CA; Charlie James Gallery, Los Angeles, CA; Quotidian, Los Angeles, CA; Torrance Art Museum, CA; Eastside International Los Angeles, CA; and the Los Angeles Municipal Art Gallery, CA. Wilson spent a year as a research fellow at the New York Public Library’s Schomburg Center for Research in Black Culture, Harlem, NY.

Aysha E Arar born in 1993, Jaljulia, where she lives and
works.
E Arar uses painting, video, performance and poetry
; she paints on paper, canvas and on the wall, moving
from narrative to abstract painting, where she combines
imaginary creatures based on Palestinian legends. At
the center of her practice lies her own identity. She
practices an art of resistance to oppression through the
power of images and voice, a quest for freedom and its
meaning. In her own words, “I don’t know how to draw
realistic paintings, I draw from the world of imagination
and fantasy. This allows me to merge imagination with
reality and all the contradictions that I live in”.

Byun Sanghwan is an artist who observes and deals with various objects.

Like a skilled martial artist, Byun navigates through urban landscapes smoothly, and at the same time, he becomes an anthropologist when observing and studying the bizarre light of some precious phenomena that are found in densely packed cityscapes. These cityscapes are disassembled into tiny units to be reborn through poetic metaphors, paradoxes, and humor, resulting in artistic creations. Everyday subjects, appearing in unfamiliar forms, beckon for a fresh perspective on urban life, while traces of physical endeavors inscribed in artworks evoke both the weariness and vitality of life.

The exploration of conditions that delineate various forms of art is also evident in his work. This includes the weight, volume, and space in sculpture, the surface, canvas and paint in painting, the process and multiplicity of images in printmaking, and the neutrality of objects. Moreover, the theme of time and body which permeates all forms of art. The questions at the boundaries manifest in his creations.

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.

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

Praiva Raiva is a contemporary artist renowned for his evocative and thought-provoking works that explore themes of identity, emotion, and social challenges. His art masterfully blends traditional techniques with modern aesthetics, creating captivating pieces that resonate deeply with audiences worldwide. Drawing inspiration from personal experiences and diverse cultures, Praiva’s work invites viewers to delve into intricate narratives and self-reflection. His exhibitions have garnered critical acclaim, establishing him as a significant and influential figure in the contemporary art world.

Autonomic Drugs 980-1250(9pieces)

Autonomic Drugs 1250_R(16pieces)

Autonomic Drugs 1250_Y(16pieces)

Autonomic Drugs 1250_B(4pieces)

Stool 01

Bench

Sculpture

Mirror

Bookshelf

Stool 02

David

Venus

Formation

Twist tie 

네이버 검수용 더미

Liquid

Twist tie2

Wipe #1

Route-crash

Window2020 record

Stranded

Floating on the Line

Mimic

Soliloquize

Theard

Bubbles

Crossing a Hole

Go Along

Puncture

Pink Hole

Dive Right In

Cloud Nine

Melting

Mitosis

Flow

Drift

Mossy

Molecular Attraction

Breath

Drowning

Revision

Intermediate

Velvet

Dark face painting (Summer snow)

Dark face painting (Untitled water boy)

Dark face painting (Blue tears black boy)

Dark face painting

Dark face painting (Mudder og vand / Mud and water)

Dark face painting (Summer snow 2)

Dark face painting (Rødt jord blå dreng/ Red dirt blue boy)

Dark face painting (Snow, Water, Sun)

20.10.22-21.02.03

새나무

20.08.21-08.30

얼굴로 그린 그림 1

Untitled

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

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

Neonatal Refractions

Extension

Cats and Rainbows

Cat With Zippers

Mars Cat

Cat in the box

Untitled Cats

Cat in the Box

To Reach You

Every Day Every Moment

Breaking Bad

Cherry Head

Wanted

Portrait

Mélange

Good for Now

Boat Ride

Pawn’s Gambit

The Missing Piece Within

Crossroads of the Unknown

The Floating Dreams

The Lost Key

Roots of the Past

The Unity Die

Surrender of Life

Endless Labyrinth

End of Control

Balance Isn't Harmony

Castle of Emptiness

Masterpiece Marionette

Life’s Own Performer

Chains of Perfection

Pull-Push

Inner Peace

Mend Pieces

Bloom in Silence

Behind the Curtain of Perfection

Dream Weaver

The Life Conductor

Piece of Me

The Passage of Hourglass

Traveling

Element Series No. 2 (Origin)

Tidescape (Pacific Frequency #2)

Wavelength Constellation #2

Wavelength Constellation #1

Resonant Alignment (An Elliptical Pull)

Equivalents (Ethereal Observation #1)

throw away your papers boy

Alice in the Middle East

Warm Hand

Live Rust-Odyssey 25001 (α)

Live Rust-Odyssey 25005:H100 (α)

Live Rust-Odyssey 25005:H200 (β)

Live Rust-Odyssey 25005:H150 (α)

Live Rust-Odyssey 25003 (β)

Live Rust-Odyssey 24001 (β)

Live Rust-Odyssey 25006 (β)

Live Rust-Odyssey 25005:H100 (β)

Live Rust-Odyssey 25001 (β)

Live Rust-Odyssey 25005:H200 (α)

Live Rust-Odyssey 25002 (γ)

Live Rust-Odyssey 25002 (δ)

Live Rust-Odyssey 25002 (α)

Live Rust-Odyssey 25002 (β)

Live Rust-Odyssey 25003 (α)

Live Rust-Odyssey 25006 (α)

Live Rust-Odyssey 24001 (γ)

Live Rust-Odyssey 24001 (α)

Live Rust-Odyssey 23003 (β)

Live Rust-Odyssey 23003 (α)

The Wing of Dream 22052024

Rolling Oge

Lost Bluesky

Featured Artists on Artue