Kongpop Benjanirat (1996) graduated with a bachelor's degree, first class honors and Master's degree from Silpakorn University. Presents with his oil paintings that show the artist's unique Western aesthetic style.
He has continuously participated in exhibitions both in Thailand and internationally, such as Art Busan 2023 (Korea), Hotel Art Fair 2024 (Bangkok). Also, solo exhibitions "The Oblivion" (2022), "Phantasia" (2024).

Grems or Michaël Eveno born in 1978 in Paris, now based in Biarritz, France. A complete artist with an overflowing energy, Grems is this kind of unstoppable artist that will always push the boundaries til the end. His two main creative tendencies, art and music, developed alongside one another, are teasing and forcing each other to more energetic production in order to always create something unexpected while keeping his well known and unique style.


Taesoo Lee is a Korean sculptor known for creating heavy-looking objects using lightweight materials. His work explores the gap between perception and reality by crafting hyper-realistic sculptures of boulders and steel beams that visually defy gravity. Through optical illusion and material deception, Lee challenges viewers’ assumptions and offers a playful yet thought-provoking commentary on how we perceive the world.

Minjung Key studied traditional East Asian painting at Seoul National University, where she also completed her graduate studies. The artist’s artistic practice is deeply rooted in an intimate engagement with materials. By juxtaposing the weight and coldness of glass with the softness of hanji, she explores the tension between contrasting materials. In her newer works, however, this exploration evolves—what emerges is a visual language shaped by the rhythmic qualities inherent in the line itself. These lines, generated through a painterly logic, coalesce into forms that assert a palpable sense of weight and presence within the pictorial space.


‘Munins’ or Munin Saiprasart (Born in 1988), stands as an acclaimed artist, writer, and illustrator with a reputation spanning over a decade. Her passion for comics ignited in childhood, kindling dreams of mastering the art of drawing. Life, however, took a detour as she pursued studies in the Faculty of Architecture at Khon Kaen University. Post-graduation, Munins redirected her path to pursue what she genuinely loved – cartoon drawing. Starting with grayscale graphic novels, she wove tales of diverse relationships, resonating with warmth, tenderness, and a touch of romance. 

Munins’s standout quality lies in her ability to breathe life into characters that communicate emotions and feelings so profoundly that readers are left feeling as if her creations exist in the tangible realm. This evokes a sense of attachment and connection, weaving an intricate bond between the audience and her characters. In addition to the captivating strokes that captivate the viewers, Munins is also a wordsmith extraordinaire, skillfully conveying both joy and sorrow simultaneously. This dual mastery has earned her a legion of book enthusiasts, propelling her to become a writer and illustrator with a Facebook following of over 600,000 avid fans. 
Embarking on a journey from the realms of comic writing, Munins made a foray into the fine arts scene in 2022 with the exhibition “B-Side” at Palette Art Space. Here, she showcased both digital works and NFTs. Following this, Munins continued to make waves with collective exhibitions like “Shall I Compare Thee to a Summer’s Day?” (2022) and “To the Moon and (Never) Back” (2023) at River City Bangkok. Her first solo exhibition “Blackout” (2024) that marked a significant turning point in Munins’s artistic career as she pushed her creative boundaries, crafting works that grew more daring and challenged her own artistic limits. Munins chose to narrate life stories and relationships in an unconventional, rare format, drawing directly from her own experiences. The predominant use of black, a color she once avoided for its stark clarity, added depth to her compositions. Additionally, Munins experimented with previously unexplored color palettes, coupled with a transformative shift in her creative process. Formerly centered on structured storytelling, her approach evolved into a form of liberated drawing, allowing emotions to guide lines and leading her into uncharted dimensions. Notably, many pieces in the exhibition emerged from Munins’s semi-conscious or blackout stages, aligning seamlessly with the very essence of the exhibition’ title. The Blackout exhibition has received an excellent response from viewers and collectors.


I had painted the landscapes that passed by fleetingly. Looking back, all that remained were the dry landscapes, filtered through my own filter, leaving only monochromatic shapes lingering in my mind. Currently, I'm more focused on expressing the colors and forms of the subjects as perceived through my brushstroke, rather than shaping the mental images in my mind. To be honest, I've deliberated a lot on the subjects I find beautiful and the ways to portray them.

In the natural subjects I observe, there's texture in everything. Trees display different textures based on their types, and when they come together to form a mountain, each tree's texture contributes to a collective yet distinct texture for the entire landscape. The texture of sea waves also varies with time, weather, and seasons, influenced by the direction and intensity of the wind. These textures, filtered through my vision, manifest differently on my brush and create diverse patterns within the rectangular canvas.

As for the subjects, there are no predetermined themes or special elements. However, one thing stands out – I paint natural landscapes that have emotionally resonated with me, excluding human traces. In my paintings, there are no houses, streetlights, power poles, or roads. If you were to imagine the surroundings of the uninhabited landscapes I paint, it might resemble the environment when one is left alone on a deserted island. Perhaps, in my art, I wish to savor, admire, and cherish such landscapes that others might overlook. I hope they get lost in the beauty of the untouched nature I've depicted, with no human presence, and simply indulge in the experience of admiration.

Lee Ufan is a South Korean artist and art critic born in 1936 in Haman-gun on the southern Korean peninsula, then part of the Japanese empire. He moved to Japan when he was 20 years old, and developed a practice anchored in an Eastern understanding of the nature of materials together with an appreciation of modern European phenomenology. In 2009, the Japanese government honored Lee by conferring the Order of the Rising Sun for “contributing to the development of contemporary art in Japan.” In 2010 the Lee Ufan Museum, designed by Tadao Ando, opened at Benesse Art Site, Naoshima, Japan. Lee has had major exhibitions worldwide, including a retrospective at the Solomon R Guggenheim Museum in New York City in 2011. In 2014, he was selected for the contemporary art program of the Palais de Versailles, and in 2019 the Hirshhorn Museum and Sculpture Garden in Washington DC commissioned a site-specific installation for the museum’s plaza. Lee divides his time between Kamakura, Japan and Paris.

Rooted in the principles of Eastern painting, Hong Seonghwa expresses the rhythm of emotion through line and void. Her controlled strokes carry inner vibration, and the spread of ink leaves traces of time and sentiment. By blending traditional technique with modern composition, she visualizes the breathing and movement of feeling. Her work resonates like a silent rhythm, inviting viewers to look inward and sense their own emotional echoes.


Peter Chey draws "faceless comfort" under a single idea—that comfort should reach anyone, easily. Working with the most familiar of materials, ballpoint pen and marker, he leaves each figure's face empty so that viewers can project their own stories and complete the work through their own reading. Moved by those who told him his small drawings brought them great comfort, he developed his "Giant Drawing" technique, enlarging tiny ballpoint sketches over a hundredfold and redrawing them by hand in the same medium. The result feels like a picture made by a giant standing steadfastly beside you—an image that shifts with distance, offering comfort through both scale and perception.

Heejae Lim visualizes situations infused with the desire to touch and possess the essence of ‘Nature’. 
The subjects she deals with, much like the taxidermies in a natural history museum, assume nature to be complete and vivid. In this regard, she discovers a resemblance between the human desire for nature and her own desire for image as a painter. She visualizes the connection between those two dilemmas by focusing on the surfaces that mediate these desires rather than the direct subjects, creating a peculiar texture and depth in her work. Her major solo exhibitions include "Nesting" (Space ONSU, 2023) and "Cabinet of Curiosity" (Lee Eugean Gallery, 2022). She has also participated in numerous group exhibitions such as "Bright Room" (Every Art, 2023), "Inflating World" (Drawing Room, 2020), and "COCOON 2020" (Space K, 2020).


Born and raised in Bangkok, Thailand, Chonnapas Yokyai (ฺBorn in 2000) is an artist graduated from the Faculty of Fine Arts, majoring in Painting, Sculpture, and Printmaking at Silpakorn University. Her works are symbolic and transcendental paintings. Fueled by her interest in everyday life from a feminist perspective, her art endeavors to explore the answers with the societal framework she confronts. Through vibrant and surrealistic paintings and subtly veiled figurines, she casts a spell, inviting viewers to interpret and explore through their own personal experiences. Her art portrays a peculiar and twisted scape, inviting people to interpret and explore through their own personal experiences. 

Chonnapas became well-known among collectors from the group exhibition ‘Utopia’ (2024) at River City Bangkok and the group exhibition ‘Perplexa Scenario’ (2024) at Joyman Gallery.


Kim Yunsoo creates her own works by drawing invisible things with scattered things, making lumps with flowing things, building up layers of time. She graduated from the Department of Sculpture at Chung-Ang University and the same graduate school. Her solo exhibitions were held at Gallery SoSo(2021), (2017), (2011), Alter Ego / Sutome(2015), Project Space SARUBIA(2008). She also participated in group exhibitions at Datz Museum of Art(2020), Museum of Contemporary Art Busan(2020), Cheonju Museum of Art(2019), Nam Seoul Museum of Art(2018), OCI Museum of Art(2016), and the Museum SAN(2016). Kim Yunsoo participated in residencies at SeMA Nanji Residency(2006-2007), MMCA residency Goyang(2008-2009), and Art Center White Block(2014-2015). Her artworks are housed in the Seoul Museum of Art, the Museum of Contemporary Art Busan, the Art Bank(the National Museum of Modern and Contemporary Art), OCI Museum of Art, and the Datz Museum of Art. Kim Yunsoo won the 22nd Woomin Art Award in 2023 and is preparing for a solo exhibition at Woomin Art Sensor in 2024.

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.

Prach Pimarnman’s work explores the intersection of stories and historical narratives of the Malay people in Narathiwat, Pattani, and Yala provinces, as well as historic regions such as Patani, Kelantan, and Kedah. These areas share historical connections with Bangkok, which further enrich his exploration. Through his art, Prach delves into the diverse communities of Narathiwat, where terms like "mountain people" and "sea people" are commonly used to describe some minority groups.

Hyun Jung Ahn is a Brooklyn and Seoul-based multidisciplinary artist from Seoul, South Korea. Through her work, she investigates enigmatic abstract forms, which she references as “shapes of mind.” She begins by drawing from her visual diary, which captures feelings, personal connections, and emotional states of being. She then translates these notions into minimalistic drawing, painting, and sculpture. Ahn was selected as the ‘Emerging Young Artist’ at La Mer Gallery, Seoul, South Korea, and was the winner of the Emerging Art Award at Baditto Art, Tuscany, Italy. She has attended residencies including Vermont Studio Center, Johnson, VT, MASS MoCA, North Adams, MA, and Trestle Art Space, Brooklyn, NY. Ahn Graduated from Duk-Sung Women’s University, Seoul (in 2010 B.F.A and 2013 M.F.A) and received her second M.F.A in painting and drawing from Pratt Institute and currently lives and works in Brooklyn.

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.

Ever since I discovered saturated music (Franck Bedrossian, Raphael Cendo) ten years ago at the Versailles Conservatoire, the theme of Excess has become central both to my work as an ar=st and in my personal musings. While challenging the ra=onale of our ultra- modern socie=es and their economic and societal models, my pain=ngs, in a combina=on realism and abstrac=on, explore this concept of excess, in par=cular through the philosophy of Georges Bataille, literature (Pierre Guyotat, Kathy Acker, Hermann Ungar and many others) and contemporary films.
The despicable, the sublime, ero=cism and death are all spheres in which excess comes into play, and I try to connect them in elaborate composi=ons that draw as much on tradi=onal pictorial techniques as on more contemporary aesthe=cs.
I believe that Pain=ng, and Art in general, are at their origins, the expression of an Impossible that derives as much from vacuity as from surpassing limits.

Haechan Kang is a painter who explores the subtle atmosphere embedded within everyday spaces. The artist believes that “nothing is truly empty,” suggesting that even seemingly vacant places are filled with invisible elements—light, humidity, temperature, and traces of emotion and memory. Kang’s paintings attempt to visualize these intangible sensations through layered colors and delicate brushwork.

Rather than depicting dramatic narratives, Kang focuses on moments when familiar environments suddenly feel unfamiliar: a playground that gradually cools into silence at dusk, or the violet light that settles between sunset and night through a window. These fleeting shifts create the sensation of encountering another dimension within ordinary life. By capturing such moments, Kang transforms everyday landscapes into quiet, contemplative scenes.

The artist frequently employs the motif of a window, suggesting a passage between inner perception and the outside world. Kang’s works function as visual portals through which viewers can pause, reflect, and reconnect with subtle emotional states embedded in daily life. Through layered brushstrokes and carefully composed color fields, the paintings invite viewers to experience atmosphere itself as a living presence.

Nor Tijan Firdaus (b.1986) is a Malaysian contemporary artist recognized for her innovative approach to mixed media art. With a background in Fine Arts, she has a keen focus on sustainability and environmental awareness, often using electronic waste as her primary medium. Her work reimagines discarded technology, transforming it into intricate art pieces that challenge the traditional definitions of beauty and value. This distinctive use of e-waste not only reflects her technical skill and creativity but also raises awareness of the environmental impact of consumerism, establishing her as a unique voice in the Malaysian art scene.

Tijan’s impact extends beyond her exhibitions, as her work has sparked conversations on sustainability in art and broader society. She has gained recognition through awards, notable exhibitions, and collaborations with environmental organizations, positioning her as a prominent advocate for eco-conscious art in Malaysia. Her influence has inspired a new generation of artists to consider the environmental implications of their materials, marking her as a pivotal figure in Malaysia’s evolving art landscape. Through her work, Tijan has contributed to a growing discourse on sustainability in art, bridging contemporary creativity with pressing environmental concerns.

Sung Byunghee explores the intersection between personal anxiety and wounds and the tensions that arise within contemporary society. For Sung, art is not a form of consolation that conceals or softens pain, but a sharp tool that compels both the artist and the viewer to confront it directly. Rather than relying on literal representation, she constructs her paintings through symbols and metaphors, bringing together existential anxiety, the uncertainty of life, and the instability generated by social conditions. Beginning with deeply personal emotions and experiences, Sung expands them into a broader visual language that invites viewers to face their own wounds and, through that encounter, find the possibility of moving forward.

Midori Arai, born in Ibaraki, Japan in 1992, graduated from Tokyo Zokei University in 2015 with a bachelor's degree in fine arts. She completed a master's degree in oil painting at Kyoto University of The Arts in 2022. 
Midori Arai's painting embodies the concept of capturing unconscious movements and reinterpreting them, illustrating the juxtaposition between the body’s finiteness and the painting’s infinity. The strokes serve as both an action and a trace, echoing the ideas presented in Roland Barthes’s essay on Cy Twombly, emphasizing the raw guidance of the hand and its desires over the precise control of the eye. This artwork transcends traditional visual perception, favoring the memory and automatic functions of the body—breathing, blinking, and heartbeat—over conscious intention. It invites the viewer to engage with the physicality of the artistic process and confront the traces of time, reflecting on the inherent limitations and continuous existence of the human form.


Fanko dreams of communicating with the world through creative activities based on her daily life. Life goes by and many things happen. Through paintings, she wants to remember the ordinary emotions that we miss or almost forget as time passes by. She said, “The character in the painting is myself, the artist, and at the same time symbolize the people around me. Sometimes I feel like I'm talking to them, and sometimes I feel like I'm listening to their story. I am fascinated by the shift of identity as this.”
The main character in the painting sometimes is an adult and sometimes a child. This emotion is what she feels about herself, and it is constantly being switched and overturned in her mind. The transition of a moment is the essence of her existence and identity. She is growing as a human being and an artist by depicting the ordinary emotions felt in everyday situations that combine self and others, the complex and the simple, the realistic and the imaginary. The story is told in a comfortable and natural way through the familiar style of the main character in the painting. Recently, she has been expanding her medium to include acrylic paint, oil pastel, pencil, photography, animation, and ceramics.


Jonas Burgert paints a stage every time that he lifts his brush: with every stroke, with every composition. His works depict the inexhaustible theatre play that Burgert considers to be human existence: man’s need to make sense of his purpose in life. It is a quest that seems inconclusive, but which opens doors to every sphere of reasoning, imagination and desire. Oversized canvases are crowded with fantastical figures of different proportions. Jonas Burgert graduated from the Academy of Fine Arts, Berlin, in 1996 and consecutively studied for a postgraduate title (Meisterschueler) under Professor Dieter Hacker in Berlin.
 
Since 1998, his work has been on view in numerous group shows around the world, including “Geschichtenerzaehler”, Hamburger Kunsthalle, Hamburg, 2003, and “Triumph of Painting Part VI” , London’s Saatchi Gallery, 2006. Since 2006 Burgert’s work has been on view in solo exhibitions around the world.
 
Selected Solo Exhibitions include “ein Dorn weich: Recent Drawings”, Stephen Ongpin Fine Art, London (UK, 2022); “raub und bleib”, Produzentengalerie, Hamburg (Germany, 2022); “blüht und lügt” , Long Museum West Bund, Shanghai (China, 2021); “Blindstich” , Tang Contemporary Art, Beijing (China, 2020); “Sinn frisst”, Arp Museum Bahnhof Rolandseck (Germany, 2020); “Ein Klang Lang”, Tang Contemporary Art (Hong Kong SAR, China, 2019), etc. Selected group exhibitions include “FLOWER”, Choi&Choi Gallery, Seoul (Korea, 2022);  “German Painting Now”, Telegraph Gallery, Olomouc (Czechia, 2021); “Szene Berlin”, Hall Art Foundation (Germany, 2020); “Kirchner · Richter · Burgert, me Collectors Room Berlin”, Olbricht Foundation (Germany, 2019); “Where is the Madness You Promised Me”, Hudson Valley MOCA, New York (USA, 2019), etc.
 
Public collections include Long Museum, Shanghai; Burger Collection, Hong Kong; Denver Art Museum, US; Rubell Family Art Collection, US and Taguchi Art Collection, Japan.

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”.

The Goddess of Lightning

The Crocodile Hunter

The Golden Conch

Sudsakorn & Black Dragon Horse

West coast

D-Stone 01

D-Stone 02

D-Stone 03

D-Stone 04

D-Stone 05

D-Stone 06

D-Stone 07

D-Stone 08

D-Stone 09

D-Stone 10

D-Stone 11

D-Stone 12

Stone Composition 006

Water Primrose Form

Water Beetle Form

Water Lettuce Form

We are all in the waves (20 Sep. 2024)

Sherbet punch lines series 2

Sherbet punch lines series 1

Sherbet punch lines series 3

Self-portrait

A flow in frozen breeze

We are all in the waves (11 Sep. 2024)

We are all in the waves (sunset)

We are all in the waves (sunset_3)

The winds move

Sherbet punch lines(Floating violet mood)

Sherbet punch lines(Emerald promise)

Disconnect

Bluewave

Greenwave

on the way to Juwang mountain

on the way to my friend

Dinner

Untitled (IV)

Untitled (V)

Untitled (VI)

Untitled (II)

Untitled (I)

Serenity 38

Serenity_34

Serenity 30

Serenity_35

Serenity_25

Serenity_22

Serenity_37

Serenity 36

Serenity 39

Serenity_31

Serenity_33

Serenity 32

Serenity_29

Serenity_40

#dday

#overlap

#home

#myself

#companion

#rockscissorspaper

#have

#if_together

#discovery_of_happiness

#hurt

Study for S/CWS 520

The Oracle Pill

Simulation Field

The Bloom of Consciousness

Playground Error

The Arrival

Oracle of Birth

Puzzle of origin

Laboratory of Birth

Genesis protocol

The Oracle Pill (Pink pill)

The infinity code

The Constructed Haven

Eve’s Algorithm

The pool of her

Eternal recurrence

The Seed and the spine

Jump into the Reflection

The Oracle Pill (Blue pill)

Waves

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.

Artists