Seo Yewon reconstructs invisible sound into a visual order. Arranging objects on hanji as if notating them in a score, the artist builds an auditory structure within painting. Sonic images—such as musical instruments, explosions, and elements of nature—take form as ordered visual elements through precise depiction and restrained composition, capturing and fixing the moment when intangible sound becomes visible within the image.

The artist's work invites us to pause from our busy lives and direct our attention to the whispers within our hearts. This is likely because her work, even though it is full of the small and ordinary things of life, evokes a dreamy and free-spirited feeling reminiscent of childhood memories filled with all sorts of imaginations. Furthermore, the clumsy and unadorned appearance, reminiscent of a child's, also captures attention. These rough but heartfelt feelings seem to make the entire work soft and warm. The screen is full of childlike freedom, unspoiled purity, and honesty. As if following the old saying that great skill is rather clumsy, the artist's work transcends the confines of skill and style and freely conveys the artist's heart as it is.(Min Byung-jik, Curator)

Sasha Yazov (b. 2000, Kaliningrad) is the young artist whose primary interest is in the gaming world. His point of reference is popular video games from the early 2000s. He uses gamepJay as an opportunity to make a screenshot of a uniquely created situation inside the game, and this becomes a painting. Using airbrush and stencils in the process, Yazov achieves a maximum likeness to the digital aesthetics, taking us back to a period of time when computer game culture was at its prime, and the internet still seemed a platform of freedom and unprecedented opportunity for everyone. 

Alex Cho observes the subtle moments of mistranslations in his works. For him, these mistranslations are akin to off-pitch harmony or miscommunication that somehow makes sense. Information seems to overpower reality, appearing as translated or compressed surfaces. Amidst the current state of information overload, the artist seeks out gaps and errors that feel awkward. Using floaty drawing elements and a loose, painterly expression, the artist aims to react to and reassemble encountered information and events, creating new possibilities. The artist hopes to capture moments of awkwardness in these ambiguous spaces. His works resemble anti-humor jokes or awkward silences. The desire to go beyond information and drifting thoughts emerges on the surface of canvases as mistranslations, even if only superficially.

Lee Sanoh (b. 1996) moves fluidly between Eastern painting and ceramics, pursuing a practice unconfined by fixed forms and free to unfold its own narrative. Stories that began with earlier works — rooted in the experience of losing her grandmother and a sustained attention to fragile, neglected subjects — expanded into a spiritual dimension upon encountering the symbolic image of the bird.

Lee Sanoh's practice originates from the moment of witnessing the death of a beloved. During a period when her artistic sensitivity to life and death was deepening, the artist began writing poetry as a way of reckoning with presence and absence. These self-written poems, set down in pencil, naturally extended into drawn works, and she found herself drawn into the sensation of pencil on paper — the way it rose like dry, crumbling smoke. Through material explorations of pencil and colored pencil, and across themes of life and death, flight and fall, what remained at the end of these life-cycle meditations was the bird as messenger. It is both an emissary connecting this world and the next, and a mediating presence that brings inspiration to the artist. The spiritual and mythological resonance of the bird, the aesthetic of symmetry visible in its structural form, and the texture and shape latent in the grain of its wings all evoke the balance that humans endlessly pursue, and the sensation of life's soaring and falling.

In ≪Fading, Rising≫, Lee Sanoh introduces verdigris — obtained by oxidizing copper — as a primary pigment. Copper is a biometal that quietly performs its role within the metabolism of living organisms, including humans, while simultaneously being a material that rusts over time. When pure red copper reacts with oxygen in the air and the surface turns a reddish-brown, the artist introduces an oxidizing agent to further corrode the copper, producing the blue-green hue of verdigris. Through repeated cycles of oxidation and corrosion — sanding the surface down and building up layers again — paintings in the traditional hwajodo (flower-and-bird) genre emerge: hills and trees suggestive of burial mounds, orioles and pasque flowers encountered by chance at her grandmother's cemetery. The verdigris spreading across the surface in blue-green — the actual elemental constituents of living things translated into the visual art of painting — functions as a medium through which creation and dissolution are made visible. Just as copper rusts and acquires new color, Lee Sano regards death not as an ending but as one stage within a cycle, imagining a world in which all that has disappeared continues to live on in other forms.

Shaina McCoy works from photographs to paint her family members in thick, expressive brushstrokes. While her source material is deeply personal, McCoy renders her subjects without faces, inviting her viewers to project themselves and their own relatives into her scenes. As she depicts subjects from many stages of life and employs a wide range of skin tones and compositional styles, McCoy thematizes the diversity and complexity of Black families and experience.

Leng Guangmin was born in Qingzhou, Shandong, in 1986. During studies in the department of oil paintings at Tianjin Academy of Fine Arts, Leng spontaneously explored his path to break the traditional paradigm of oil painting creation and became one of the most significant painting artists of the 80s generation. In contrast to accumulated paints and strokes, he chose to open a  brand-new physical space in the image with the movement of slicing. Slicing is not only his creative method but also his attitude toward art, which is keen, determined, and resolute. With relatively consistent painting skills, the artist keeps dissecting materials and images guided by some clues but has no clear themes. The ubiquitous tension formed by confrontations, the opposing but complementary colors, the level and scraped materials, the hard-edged and gradient textures, and the conformal and negative structures are the incomparable attractions of his paintings. They enable the artist to refine the inner order behind the numerous and complicated objects, which can be manifested with images only in a highly abstract and endlessly changing state. His critical solo exhibitions include: "Shell, like the wings of a cicada", MAHO KUBOTA GALLERY, Tokyo, Japan, 2023; Personal Project at West Bund Art & Design Fair, Shanghai, China, 2019; "Ripples", MAHO KUBOTA GALLERY, Tokyo, Japan, 2018;Leng Guangmin: Perfect Destruction, Hive Center for Contemporary Art, Beijing, China, 2017; Leng Guangmin: Hive Center for Contemporary Art, Beijing, China, 2014; Hive · Becoming II, See the Appearance: The Solo Exhibition of Leng Guangmin, Hive Center for Contemporary Art, Beijing, China, 2013 and so on.

Park Cheol-ho was born in Jeongeup in 1975. All of his creative stories are connected to form a worldview. Each story captures a moment in the personal history of human culture where complex emotions intersect. He determines the achievement of his work by the length of time the audience stays in front of his work. He does not unilaterally convey the artist’s story but seeks a communication method. The most important thing for the author is humor. Self-taught artist Park covers various media, including fiction, playwriting, painting, photography, video, film, sculpture, installation, and performance.

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

Wannita Tankeng
b.1999, Phuket, Thailand

Wannita Tankeng graduated with her Bachelor of Arts degree from King Mongkut's Institute of Technology Ladkrabang and with her Master of Arts degree from the Faculty of Painting, Sculpture and Graphic Arts, at Silpakorn University.
Wannita is interested in exploring how lights and colors are reflected through objects - inspiring her to create semi-abstract paintings.  The artist is fascinated by the allure of shiny surfaces and recognized for her ability to capture the luminous qualities of objects, encouraging us to think about how light and shadows interact around us. Capturing the essence of objects through attention to detail and her brushwork, she transforms recognizable objects into abstract renderings, highlighting the simplicity and natural beauty of ordinary elements and moments surrounding us.

Sanggyun Lee is an artist who maintains a continuous interest in civil engineering structures through field research, converting three-dimensional architecture and spaces into two-dimensional paintings. Memories of his father, who worked in civil engineering during his childhood, have greatly influenced his work, serving as a crucial link in his art.

The images of structures that appear in his work are abstracted through a process of reduction to a consistent compositional framework. He believes that, among the spaces humans inhabit, the land particularly represents various aspects of humanity. Capturing the longstanding human desire for urbanization and the pursuit of subjectivity and spatiality, he simultaneously embodies the role of an observer, depicting the immobility of civil engineering construction sites. He applies construction tools such as trowels, plastering knives, and ink lines to his paintings, creating them with a constructive attitude.

In 2022, he was selected as an artist-in-residence at the Paris Lee Ungno Residence, where he worked to document his artistic identity and discover the human narratives of previous generations. During this period, he participated in various international exhibitions, expanded his artistic perspective through interactions with artists worldwide, and drew inspiration from the unique culture and historical background of Paris, adding depth to his work. This experience significantly contributed to his artistic growth, which is clearly evident in his subsequent works. Currently, he continues to create new works based on these experiences, pursuing his artistic exploration.

Tum Ulit or Natakorn Ulit (ฺBorn in 1992) is an artist, cartoonist, and storyteller enamored with the world of cartoons since childhood. He completed his undergraduate studies in Animation Production at Mahidol University International College (MUIC). His passion for cartooning stems from a profound need to articulate and navigate through deep-seated pain and sorrow nestled within his soul. Through the art of cartooning, Tum discovered a transformative medium, allowing him to explore his innermost self and the intricate nuances of his emotional journey. 

Tum Ulit first gained recognition among readers through his webcomic series featured on his page “Tum Ulit”. What distinguishes him is his ability to narrate stories through visuals alone, reaching deep into the emotions and touching the souls of readers from diverse backgrounds and languages worldwide. This unique approach has inspired him to continuously create works that resonate as ambassadors of people’s emotions. Tum Ulit hopes above all that his creations spark profound reflections and become symbols of apologies, remembrance, or lingering sentiments in people’s hearts. Presently, his page boasts a global following of over 1.7 million individuals. 

In 2022, Tum Ulit made his debut in the art scene with the group exhibition “Shall I Compare Thee to a Summer’s Day?”, followed by “To the Moon and (Never) Back” in 2023 and his first solo exhibition, “Who’s Cutting Onions?” (2024) which all held at River City Bangkok. These showcases, especially his solo exhibition, captured the attention of collectors and enthusiasts alike, both locally and internationally. 


Born in 1933 to an affluent family in Gaeseong, Han Youngsoo showed artistic talent from a young age and pursued photography as a hobby. After his military service in the Korean War, he became a member of the Shinsunwhue (New Line) group, an association of realist photographers who championed “everyday life photography.” In Seoul, they documented the resurrection of the city in the late 1950s and the social realities of the Korean people. South Korea’s economy saw explosive growth in the 1960s. In 1966, Han founded his photography studio, Han’s Photo, which pioneered the country’s advertising and fashion photography industries.

Han went on to take leadership positions in numerous photography associations and cultural institutes. In 1987, he published Life, a photography book that compiled historic scenes of Seoul in the aftermath of the Korean War. After his passing in 1999, his daughter Han Sunjung established the Han Youngsoo Foundation to promote Han’s legacy and preserve the estate of his negatives and other archives. The Foundation has garnered international recognition for Han’s photographs. His works were included in the Les Rencontres d’Arles (2014), and he has held recent solo exhibitions at the International Center of Photography in New York (2017), Baik Art Gallery LA (2018), and Harvard University Asia Center (2019). Han’s work has been included in groundbreaking international exhibitions such as The Space Between: The Modern in Korean Art at the Los Angeles County Museum of Art (LACMA) in September 2022.

Born in a time when colonisation and political suppression were overwhelming South Korea, Chun Kwang Young went to the US to study at the Philadelphia College of Art in 1968. Chun never adapted to the art scene or lifestyle of the US, however, for it to have emphasised too intensely capitalism and self-expressiveness. Returning to Seoul, he began experimenting with Korean mulberry paper – a material he was familiar with during childhood – to craft large, free-standing sculptures.
 
Aggregation, as Chun’s hallmark series, manifests as sculptures reminiscent of rock formations or monumental crystallisations of minerals. And to create these different shapes and dynamics, Chun would twist, fold, and corrugate countless reused mulberry paper torn from Korean books before wrapping them over polystyrene, giving each of the uniqueness and individuality of his creations – as if becoming metamorphic, living organisms. The medium of paper, after being exploited by mankind, is hence able to return to its natural embrace at long last under the artist’s hands, once again reimbued with vitality. Chun is also mindful of the texts and characters printed on these sheets of mulberry paper. In his approach of tearing and reshaping, what is thus created is an analogy about the destruction of the past and subsequent rebirth of the new. Such a perspective mediates not just artistically as the conscious challenge of traditional genres and methodologies, but also socially in the greater scale to convey the fluidity of semiotics – where meanings of words and language can fade and transform swiftly.
​
Chun Kwang Young’s recent important exhibitions include: “Chun Kwang Young: Times Reimagined” at BIENNALE ARTE (Venice, 2022); solo exhibition at Moscow Museum of Modern Art (Russia, 2022); solo exhibition at Museum Ground (Korea, 2021);“Chun Kwang Young: Full Spectrum”, Sundaram Tagore Gallery (Singapore, 2020); “Special Exhibition: Moment of Giyeok”, Hagaram Art Museum (Korea, 2020); “Kwang Young Chun: Aggregations”, Jordan Schnitzer Museum of Art (USA, 2020); “Sensitive Structure”,  Beck & Eggeling International Fine Art (Düsseldorf, 2019); and “Aggregation” , Sundaram Tagore Gallery (New York, 2018).
​
Chun Kwang Young’s works are collected worldwide including British Museum; M+, Hong Kong; United Nations Headquarters, US; Yale University Art Gallery, US; National Gallery of Australia; Victoria and Albert Museum, UK; National Museum of Modern and Contemporary Art, Korea; Seoul Museum of Art, Korea; How Art Museum, China and more.

Jonghwan Jin is currently living and working in Seoul, South Korea, where his work is based on painting. He continues to think about the possibilities of expression within the category of painting. He develops abstractions of the invisible but slowly changing landscapes, such as the temperature, humidity, and wind direction felt when welcoming a new season. By implicitly expressing the forms of sensation that exist beyond the visible visual image, he is searching for his painting style.

Matthew Stone has developed a distinctive painterly language through the use of 3D imaging and digital processes, constructing the human figure through dynamic, multicoloured brushstrokes. He begins by hand-painting on glass, photographing these gestures, and digitally collaging them with forms created in 3D software. The resulting compositions are printed onto canvas, combining the material qualities of traditional painting with contemporary technologies. More recently, Stone has introduced oil on linen into his practice, merging printed imagery with hand-painted interventions to
further blur the boundaries between methods. This ongoing exploration reflects his attempt to redefine painting as a genre, while engaging with contemporary questions surrounding the nature of human existence.

Born in 1994, Seung-gyun Heo, known as CCREATT, studied industrial design at university. During and after completing his studies, the artist developed a keen interest in 3D modeling. He used his creativity and imagination to transform virtual objects into digital art, videos, and figures.CCREATT’s works portray the search for self-identity, lost in a fast-changing world dominated by commercialism. The artist creates 3D models of influential figures, such as artists or celebrities, by capturing their distinct features and characteristics. These figures are then transformed into memes with added symbolism within the digital space.The characters' emotionless facial expressions enhance the implicit meanings and emotions of each figure. Additionally, the small props and items placed beside each character not only symbolize them but are also closely linked to modern society.

The artist portrays how commercialization is deeply ingrained in our society. Through his art, he reveals what may be concealed or overlooked and encourages viewers to reflect on their own relationship with these issues. While his primary focus is on creating 3D figures and reproducing famous paintings, the artist is always exploring new styles and mediums, constantly expanding the boundaries of his art.

Taryn Simon directs our attention to familiar systems of organization—bloodlines, criminal investigations, flower arrangements—making visible the contours of power and authority hidden within. Incorporating mediums ranging from photography and sculpture to text, sound, and performance, each of her projects is shaped by years of rigorous research and planning, including obtaining access from institutions as varied as the US Department of Homeland Security and Playboy Enterprises, Inc.
Born in New York, where she lives and works, Simon received a BA in semiotics from Brown University in 1997. In 2001 she was awarded a Guggenheim Fellowship for what would become her first major photographic and textual work: The Innocents (2002), which was exhibited at MoMA PS 1. Documenting cases of wrongful conviction in the United States, The Innocents calls into question photography’s function as a credible eyewitness and arbiter of justice.

Lee Bae focuses on the expressive potential of charcoal as a medium. Over the course of three decades, Lee has dedicated himself to creating a diverse range of iterations of Korean painting through his use of charcoal and abstract forms that are self-sufficient and rich in spiritual and energetic qualities. By exploring immanent notions such as yielding, respiring, and circulation, which are embodied by charcoal as a material, Lee's work resonates with themes of life and death, absence and presence, light and shadow, form, and emptiness. Lee's oeuvre spans a wide range of mediums and forms, from drawings to canvas-based works, as well as installations, with each new work serving to expand upon his unique vision and approach. Lee’s works have been featured at museums and institutions worldwide including: Phi Foundation, Montreal, Canada; Indang Museum, Daegu; Wilmotte Foundation, Venice; Fondation Maeght, Saint-Paul de Vence; Musée des Beaux-Arts, Vannes; and Musée Guimet, Paris. Among many others, Lee’s work is in the permanent collections of museums including the National Museum of Contemporary Art, Gwacheon; Seoul Museum of Art, Seoul; Leeum-Samsung Museum of Art, Seoul; Fondation Maeght, Saint-Paul de Vence; Musée Guimet, Paris; Baruj Foundation, Barcelona, and Privada Allegro Foundation, Madrid.

Richard Prince is a contemporary American artist, widely recognized as a pioneer of Appropriation Art. His work is characterized by taking existing images, transforming or recontextualizing them, and thereby assigning new meaning to them. This method particularly involves the use of media, advertisements, and images from popular culture, often sparking debates over authorship, copyright, and originality. Despite the controversy, Richard Prince has achieved great success in the contemporary art market. His works have sold for high prices at auctions and have been exhibited in major museums and galleries around the world. Notably, his pieces are part of the collections at institutions such as MoMA and the Guggenheim Museum. Through appropriation, Prince continues to challenge the boundaries of copyright and creativity in contemporary art. His works go beyond merely borrowing images, offering deep insights into how images are consumed and interpreted.

YeonJae Chung(b. 1992) explores contrast as the central concept of her practice. As both a painter and a graphic designer, and having spent her childhood moving between the United States and South Korea, she developed a sensibility shaped by differing cultures and languages. She focuses on the tension and balance created by opposing elements such as horizontal and vertical, light and shadow, clarity and blur. Contrast functions in her work as both a visual device that evokes emotion and a framework through which objects are perceived and judged. Observing the points where logical and illogical elements intersect, she reconstructs everyday phenomena into abstract forms. By examining the gaps and relationships that arise from the combination of disparate elements, her practice expands across painting, objects, and furniture.

cresc.

Score2

Bent Conduit

ff(tambourine)

8vb to 8va

Whispering Of The Fireflies

Follow The Instinct, Chasing The Dream

Pigs

Untitled

Untitlted (asparagus)

Graveyard

Pond

No one noticed

Aether

Big Wheel

Kitty

Baby Troy at Play

Auntie & Niecey

Industrial Dessert - Indigo

The Black Butterfly

BETWEEN 83PAGE, 2010

BATTLES, 2010

A GRENADE-THROWER, 2010

A HELLO TO ARMS, 2009

A MASTEROIECE OF PICASSO, 2014

CHANUN, 2009

CLOCK, 2010

DIRECTOR, 2009

FAST, FREE MOON DELIVERY, 2010

HEART OF BANKSY, 2010

HI! DONALD, 2014

IMPRESSIVE INFLUENCE URINATE OF DUCHAMP, 2014

JUST DO EAT, 2014

MC DONALD HOME SERVICE, 2014

MOUSE HUNTING, 2010

NO!!HERO, 2009

PICASSO’S POSITION IN THE HISTORY OF 20TH CENTURY PAINTING, 2009

PRESENT, 2010

RELIEFVUITTON, 2009

START OF ART, 2010

TASTE OF THE BEGINNING, 2010

THE END, 2014

TOM & HUMAN, 2014

WAITING PEOPLE, 2010

WITH THOMAS, 2014

l WARDSTOCK FESTIVAL, 2010

HUNTING, 2010

IS HE KNOW NAMJUNE PAIK, 2009

IS HE KNOW NAMJUN PAIK, 2009

Slap 21

Slap 20

Slap 19

Slap 01

Slap 02

Slap 04

Slap 05

Slap 06

Slap 08

Slap 09

Slap 18

Slap 17

Slap 16

Slap 15

Slap 22

Slap 26

Slap 25

Slap 27

Slap 14

Slap 12

Slap 11

Slap 10

Overlap

Spillway strong current part

L-shaped retaining wall catch pit

Spillway clear well part

Abutment

Bridge pier

Bridge slab

Stele with bridge-name plate

Spilway grout

Untilted

Spillway grout

Revetment riprap

Continuous slab bridge

Spillway Strong Current Part

Reinforced Earth Wall

Spilway strong current part

Bridge wing wall

Intake tower

Box culvert exit channel

High voltage electric pole

Embankment coarse straw mat mulching work

Bridge slab, coping

Underdrain

Underdrain exit part

Falling stone net

Bridge

Embankment

Irrigation canal

Bridge rails

Completion monumental masonry

Low Water Revetment Riprap Works

Aqueduct Bridge

Box Culvert Exit Channel

Spillway control section

Tunnel

Oil storage tank

Spillway Grout

Signboards

Bridge Slab

Bridge expansion joints

L-shaped retaining wall

The Cotton Shield

Fragility of change

Myeong-dong, Seoul, Korea 1956-1963

Nodeulseom, Seoul, Korea 1956

Namdaemun, Seoul, Korea 1956-1963

Aggrega6on23-MY061

Aggrega6on18-AU049

A forest froze in a dry state

Cypress

Dry Wood

Press

Moonwash

Human Behaviour

Clasp

Why Always Me?

War Is Over!

Where's Ocean?

THE COLOR OF A FLEA'S EYE: THE PICTURE COLLECTION

Brushstroke-N7

Brushstroke Sculpture

Issu du feu K-21

Acrylic Medium

Brushstroke-N10

PORTRAIT OF DOUGLAS TURNBAUGH

UNTITLED (POLO COLOGNE BOTTLE)

UNTITLED, (WATCHES) (TWO BAUME AND MERCIER), ED. 1/10

SELF-PORTRAIT WITH A SPADE

[1,2,3] B

[1,2,3] C

Artists