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.

Peter Ravn explores the existential conditions of being human in contemporary society. Through the loss of identity, control, and certainty, he exposes the latent tension that defines modern existence. His figures appear simultaneously as agents and as victims, inhabiting a liminal state between action and surrender. Rather than offering a linear narrative, Ravn constructs staged scenes and cinematic mise-en-scènes that invite the viewer’s interpretation. His visual language, informed by his background in graphic design and film, evokes theatrical moments of conflict and reflection—an aesthetic inquiry into the psychological and social dimensions of anxiety.

Sculptor, performer, photographer, architect, curator and blogger, he is known internationally for his provocative and political art. He is an opposition figure to the Chinese government and an emblem of freedom of expression in China, openly criticizing the Chinese government’s position on democracy and human rights. Ai was among the first generation of students to study abroad following China’s reform in 1980, and lived in the United States from 1981 to 1993, attending the Arts Students League of New York, the University of Pennsylvania and the University of California, Berkeley.

Jeroz illustrates the romance that dwells within the urban coldness. In a story-like circumstance, the character's sunglasses conceal their eyes and their moustaches cover their mouths, allowing the audience to infer and assume the facial emotions of people with unknown faces as situations in work. The strong saturation and contrast of the dark night reflect the location's temperature, and each moving animation piece contributes to the work's amusement. The introduction of the work is written as an excerpt from a novel, offering the audience the opportunity to explore the content before and after it. The artist hopes that the universe shown in the painting is a world that is both cool and romantic, and in which the viewer lives fiercely. 

Expanding the language of craft to an architectural scale, Lee Myungjin conceives and fabricates ceramic modules engineered with upper–lower joints. Where modules meet, lines and planes intersect; steps between verticals and horizontals accumulate into an open-ended system, and in the cadence of repetition an assured sense of architectural proportion emerges.
Built coil by coil, the clay locks together with the precision of masonry, while the finished surfaces and tones recall concrete, brick and other building materials. This approach grows from the artist’s resolve to push past studio constraints and actively recalibrate form and scale—a throughline made clear in the series Stacked Room and Column.

Lee’s works fuse craft exactitude with an architectural syntax: the poise of line and plane, the discipline of proportion and interval, producing objects where utility and figuration coexist. The module, as a primary unit, operates like the language of an architectural drawing—densely plotted lines and symbols. Yet Lee moves beyond that regimented order, continually experimenting with and substantiating new sculptural silhouettes through varied permutations of the module.


Duck Yong Kim (b. 1961) is an artist who modernizes traditional Korean aesthetics by working with materials such as wood, mother-of-pearl, rubbings, and traditional Korean painting techniques like Dancheong. His work explores the philosophical relationship between nature and humanity. His recent solo exhibitions include Live – Light and Grain (Gallery Now, Seoul, 2024), Yearning – Permeate through the Grain (POSCO Art Museum, Seoul, 2023), Ocean Rhapsody (SOLUNA Fine Art Gallery, Hong Kong, 2023), Auspicious Dreams (Leehwaik Gallery, Seoul, 2023), and Between Borrowed and Original Landscape (Youngeun Museum of Contemporary Art, Gwangju, Gyeonggido, 2022). Since 1992, Kim has held over 25 solo exhibitions and participated in numerous group shows. His works are part of the collections of the Kyunggi Province Art Museum, the National Museum of Contemporary Art, the Korea National Maritime Museum, the Pak Kyongni Toji Cultural Center, the Park Soo-keun Museum, the Seoul Museum of Art, the Korean Embassy in Switzerland, the Abu Dhabi Tourism and culture Authority, and POSCO. Kim graduated with a degree in painting from Seoul National University and holds a master’s degree in Oriental Painting from the same institution.

Tos Suntos
b.1992, Bangkok, Thailand

Tos Suntos (Panyawat Phitaksawan) is a Thai Artist and Designer known for his outstanding graphic design which can apply to 2D and 3D objects in unconventional style. For his professional artist, his outstanding work is he changes the visual of traditional Thai to a combination of Thai style, universal monsters. pop culture and modern art.

Since the 2014s, TOS SUNTOS has been an illustrator who created his work from surrounding culture, human lifestyle and memory of childhood. When he was young, he was interested in Sci-fi movies and monsters. Therefore, he brings all of his experience combined with pop culture and retro style to his original art works. Tos Suntos first gained international attention when he was commissioned to Adidas Headquarter as representative from Thailand.
 
Tos Suntos has embedded Thai Identity in his delightful works in the biggest Adidas shop in the center of Bangkok Thailand. His talents are expressed in painting, digital paint, graphic design, collage art and sculpture; which are full of delicate patterns, super detail and layers of art.

Park Younghwan has sustained a painting practice grounded in the tradition of East Asian landscape painting, combining imagination with architectural composition. Through variations of ink on hanji including cheongmeok (bluish ink) and dameok (dense, fully-loaded ink) he lends subtle chromatic strata to black-and-white surfaces, juxtaposing nature and geometric form, figures and symbols, within a single scene. Perfect black spheres, Western buildings in modern styles, tangled stands of trees, and figures recalled from memory all find their place on the picture plane, where a fictive order and the artist’s personal temporality are realised simultaneously within the landscape.
The sphere (gu), the artist’s basic unit, appears as the most emblematic object in the work, distributed across the surface in differing sizes and gradations of ink as though tracing the arc of elapsed time. It becomes, at once, the artist himself present in the many times and spaces of a life’s journey and the record of a process moving toward the most ideal form of living to which he aspires.

SoYeong Kim reflects on urban life through photos taken in daily life, capturing fleeting moments that evoke a sense of both illusion and emptiness. Her work is characterized by creating illusionary scenes by adding painterly ambiguity to real landscapes. She paints by repeatedly layering vertical strokes of acrylic paint on traditional Korean paper (Jangji). The unique textures created from the combination of Jangji and acrylic form the depth and richness of her works. The warm texture of Jangji contrasts with the cold, artificial texture of acrylic, and through the brushstrokes, these elements merge to create a dualistic atmosphere in her compositions.

Eunu Lee places more emphasis on the connections between objects than the conceptual meanings that have been assigned to them. Following his graduation from the Korea National University of Arts in Seoul, he has shown various works investigating the relationship between art and design and the form and function of objects. By transforming ordinary things, he explores new relationships and meanings with implications for daily life. His work breaks down the duality of ready-made products through practical ways of constantly arranging, disassembling, and assembling objects, taking the viewer to a realm of new shock in a modern society that places a premium on the mass manufacture and efficiency of objects.

MHAK was born in Aizu Wakamatsu city, Fukushima. Highly inspired by designer furniture and interiors, he has mainly been working on mural painting inside the buildings. He considers painting as a part of interior design and the theme for his artwork is to coexist with the living environment. He had worked on many hotels and private houses utilizing his distinctive style of curve lines and repetitions. Believing his paintings have to be recognized as an atmosphere rather than an object, MHAK sticks to abstractness.


based in Chiba. The theme of the complex emotions and instability of young people is expressed through their hesitation and frustration as their humanity. Kimura believes that emotions, which can be seen as negative, sometimes cause people pain, but at the same time give them a sense of being alive. LOST BOYS, one of his best-known works, depicts just such moments.

Since returning from Japan, AeGoh has passionately showcased the uniqueness of her painting through five solo exhibitions, beginning in 2016. Notably, from 2017 onward, she has cultivated a distinctive artistic realm by establishing her home in the heart of a serene forest, where she creates semi-abstract works that embody the vibrant colors of nature. The artist perceives her family, everyday individuals, plants, animals, light, wind, and still life as equitable beings that engage and coexist within nature, capturing the shared rhythms of life on her canvases. AeGoh's work originates from her personal narratives but expands into universally relatable expressions of life through simplified forms and harmonious color combinations viewed from a liberated perspective.

Seokmee Noh's works are mainly based on her surroundings and everyday moments such as people or objects. Despite the simple compositions and shapes, it's the key brushstrokes and vivid colors that make the subject matter stand out clearly on the canvas. In particular, the artist's way of expressing her emotions through color rather than form gives off a distinctive cool and lively nuance due to the stark color contrasts. This, coupled with Noh's free-flowing, jerky brushstrokes, creates a vibrant texture that is sometimes accompanied by simple letters or phrases, which is another characteristic of her work.
Born in Seoul, Korea, Seokmee graduated from Hongik University College of Fine Arts, Department of Painting in 1994 and has since held solo and group exhibitions at various art spaces in Seoul, the United States, Sweden, Germany, and the United Kingdom. Representative exhibitions include 'Poetic Collection' at the Seoul Museum of Art, 'Painting and Narrative' at Museum San, and 'When I Wake Up in the Morning' at Albus Gallery. In Jeju, she exhibited 128 paintings depicting the front view of the sea at the Jeju Biennale 2022. Her works are currently in the collections of the Seoul Museum of Art, the National Museum of Modern and Contemporary Art Art Bank, and the Space Body Museum. She currently lives with his cat in Yangpyeong, South Korea, where she continues to communicate with the world through writing and painting.

Muholi is a visual activist and photographer born in Umlazi, Durban, and living in Johannesburg. The artist’s self-proclaimed mission is “to rewrite a black queer and trans visual history of South Africa for the world to know our resistance and existence at the height of hate crimes in SA and beyond."

REACH, born in 1981 and based in Kaohsiung, Taiwan, began his graffiti journey in 1995. He founded SOUL SKOOL, the first graffiti crew in Taiwan, and has worked with numerous internationally renowned brands. Early in his career, he actively participated in artist residencies and international art festivals in the US, Canada, France, Australia, the Netherlands, Japan, China and more. 


Fairuz Paisan (b. 1981, Malaysia), affectionately known as Po Oi in the Malaysian art scene, graduated with a Master’s degree in Fine Art and Technology from Mara University of Technology in 2014. Actively participating in numerous projects and exhibiting in seminal art exhibitions, Po Oi has gained recognition as an innovative voice in contemporary Malaysian sculpture. His work uniquely explores the organic form of the circle through materials such as wood and fiberglass, combining traditional craftsmanship with a modern Art Deco sensibility.

Through his dedication, Po Oi delves into the hidden complexities of the circular shape, which he sees as a pathway to uncovering deeper simplicity. His sculptures, from wall-mounted pieces to free-standing forms, are carefully constructed, blending fiberglass—symbolic of external beauty—and wood—to represent the underlying essence within. This approach invites viewers to reflect on the contrast between appearance and inner reality, leading them to a quiet, almost sacred center within each piece.

Not only are his pieces celebrated for their technical skill and elegant form, but they also reflect a subtle interplay with pop culture, capturing elements of movement and fluidity. Po Oi’s work is exhibited widely in Malaysia and has garnered acclaim in regional art fairs and galleries. Through his artistic exploration, Po Oi continues to enrich Malaysia's contemporary art scene, inspiring new perspectives on form, depth, and beauty in sculpture.

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.

Summer Kang continues to explore emotions she wishes to remember by translating them into characters and narratives. Working across various mediums such as illustration, painting, webtoons, and animation, she gives visual form to feelings. She is also the creator of RAINBOW, a Kakao Webtoon series that tells a love story between a blue-suited hero and an ordinary girl.

Kang pays particular attention to the qualities of water—its fluidity and sensitive responsiveness. Just as a gentle ripple grows into a wave with a passing breeze, emotions too begin with subtle movements and gradually expand. Water absorbs the colors of its surroundings, freezes in cold, and cools in heat; in the same way, emotions continuously shift depending on the environment and situation. Her work captures these traits of emotion in visual language. She transforms emotions, scents, songs, and fragments of writing into characters, embodying the unseen yet undeniably present colors and movements of feeling. Summer Kang’s work becomes a delicate language of empathy, offering viewers a quiet but profound resonance.

A visual artist, filmmaker and storyteller, Korakrit Arunanondchai employs his versatile practice to tell stories embedded in cultural transplantation and hybridity. Arunanondchai is an avid collaborator who has worked on videos, performances and music together with an extensive list of people. Arunanondchai’s first video in a series of work, 2012–2555 (2012), arose from the ideas of death, rebirth and the fictionalization of time, was shown at MoMA PS1 in New York (2014). Together with Arunanondchai’s twin brother Korapat Arunanondchai, the performance artist, boychild and artist Alex Gvojic, they produce a live performance to accompany the video installation as part of the Sunday Sessions at MoMA PS1. In 2015, He exhibited Painting with history in a room filled with people with funny names 3 at Palais de Tokyo, Paris and in 2016 exhibited as Arunanondchai’s first solo show at BANGKOK CITYCITY GALLERY. In early 2018, Arunanondchai co-founded Ghost Foundation, a non-profit organization aimed to support a video and performance art series in Thailand entitled Ghost. He curated its inaugural series, Ghost:2561, during October 11–28, 2018 in Bangkok.

Arunanondchai’s works have been exhibited in numerous venues, including his recent installation “nostalgia for unity” (2024), in which the artist explores negative space and uses it as the primary medium. This exhibition is held at Bangkok Kunsthalle, Bangkok.

Ellsworth Kelly, Catalogues Raisonnés of Paintings, Vol. 2

Ellsworth Kelly, Catalogue Raisonné of Paintings, Vol. 1

Ellsworth Kelly, Revue N°1 

Ellsworth Kelly, Limited Edition Revue

Landing

Group Dynamics Team Formation No. 1

Revolt

Brain Inflation

Zodiac Dragon

Ai Weiwei, Revue

So many holes

Driver

Midnight Cafeteria

Island

The man with the surfboard picture

Yellow eyed cat

Borrowed Scenery-Gwanhaeeum

Auspicious Scenery

A Dream That Comes With Freedom

We in White Memory

at the cliff

Contemplation

warmth

Each other

Aside

When I Sank Down

Hand, Light, Shadow

A Single Flower

Trace

Remains 2

Beneath the Skin

The Shadow of an Object

Bouquet

Flesh Without Flesh

Low Light

Hands

The Weight of Skin

Incident Light

Remains

Affect

Image of an image

Outside of Light 2

Place of Gaze

Beyond the Fingertips

Outside of Lights 1

Green Beans

Melting Santa

Heart 2

Heart

Flexible frame

Broken sign

A List of Things

The End of One’s Gaze 2

The Coral and The Conch

Melting Statue

Flesh 1

Expression

Mobile

A Shell Grave 3

Butterfly Shadows Over the House

Two Wrapped Offerings

A Perfectly Ordinary Scene

OUTER SPACE EXPLORATION KIT

A Pyre in Flames

100 Keys

Flesh 3

Overload Image

The Sinking Glass

Ghost Flowers

Flesh 2

The End of One’s Gaze 3

Face

Fall Asleep

Empty Frame

A Shell Grave 2

A Shell Grave 1

A Pile of Shells 2

Crumpled paper

Hallucinatory hero

The Scientist's room

Show Window

A Piece of light

Night view

Weird space 1

Great void

Impression

Tension 3

From Behind

Red Gem

November 7th

January 24th

February 9th

February 3rd

January 31st

August 4th

July 26th

February 10th

February 1st

February 2nd

October 12th

October 24th

September 7th

September 8th

January 26th

January 30th

February 16th

October 31st

June 23rd

July 14th

September 2nd

February 13th

January 13th

January 18th

January 19th

January 11th

February 6th

February 28th

March 16th

June 30th

November 1st

November 9th

Warming up

橙 DAIDAI

空 KUU

朱 SYU

眞 SIN

Production No.67

Carnation

Iris on a Cloudy Day

Six colors, Four still life series(3pcs)

Duck

Bird Shadow

Blue Window

Apricots in my studio 2

Wild roses in a glass cup

Golden oranges in a green basket

Apricots in my studio 1

Woman with cat (chaos)

Woman with cat (white)

Woman with cat (grey)

Woman with cat (exotic)

Two lemons

Ssingsing on the floor

Kitchen with apricots

Ndlunkulu

Break 04

Break 03

Break 02

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.

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.

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