Chris Measor, born in Ottawa, Canada in 1984, graduated from the Musashino Art University in Japan. He has participated in numerous group exhibitions both domestically and internationally, including two solo exhibitions in Thailand and South Korea. Based in Busan, he continues his artistic endeavors and is an artist whose international career is highly anticipated.
Chris Measor expresses various themes in his work, including European mythology, satire, philosophy, history, politics, and film, by anthropomorphizing animal characters. The animal figures in his works, such as cats, dogs, and rabbits, serve as engaging mediums that attract the audience's interest and guide them through the narrative. By using animals as motifs, the artist avoids potential biases that might arise from depicting human characters, where aspects like race, class, and age could distort the essential meaning he intends to convey. He aims for viewers to immerse themselves in the storytelling without preconceived notions. The artist encourages a reflection on the everyday characters that might be overlooked and hopes that each character in his works represents the protagonists of life, inviting the audience to explore their diverse stories. He creates a layered base on wooden panels using gesso and sanding techniques, applying acrylic gouache and acrylic ink to achieve depth and detail in his artwork.

Qwaya is an artist who has built a distinct painterly world rooted in quiet nocturnal reflection and personal records. For him, night is a time to sort through the day and revisit memories—a space for contemplation that remains grounded in reality yet gently distanced from it. This sensibility appears on the canvas, where figures and still lifes coexist with a subtle sense of separation.

Though he employs bright and vivid colors, a quiet darkness and stillness permeate his work. His figures bear calm, ambiguous expressions, which he considers the most natural state. While his work reflects a longing for an ideal, it also closely resonates with the realities of contemporary life.

Matthew Antezzo (1962, USA) in the 90s made a substantial body of work which took as their models photographic reproductions that he found in magazines, catalogues, monographs and publications dedicated to contemporary art, particulary art from the late Sixties and the early Seventies, the era that witnessed the birth of the most radical neo-vant-garde movements of the postwar period.

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.

Anniketyni Madian (b.1986) is a Malaysian artist celebrated for her contemporary wood sculptures, which draw inspiration from her Iban heritage. Born in Sarawak, her connection to traditional art forms and indigenous craftsmanship is deeply embedded in her work. After graduating from Universiti Teknologi MARA (UiTM) with a focus on sculpture, Anniketyni honed a unique style that blends modern aesthetics with cultural motifs, particularly the traditional pua kumbu patterns. Her intricate woodwork has earned acclaim for its craftsmanship and cultural resonance, offering a fresh perspective on Malaysia's artistic identity and heritage.

Anniketyni’s work has been showcased in major galleries and exhibitions, both locally and internationally, positioning her as a significant figure in contemporary Malaysian art. Her innovative use of wood and her dedication to preserving indigenous art forms have inspired a new appreciation for Malaysian heritage within modern art. By incorporating cultural narratives into her sculptures, she challenges viewers to engage with Malaysia’s rich traditions in a contemporary context. Anniketyni's influence is profound, as she bridges the gap between tradition and modernity, encouraging younger Malaysian artists to explore their cultural roots in innovative ways.

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

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

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

Li Erpeng graduated from the Oil Painting Department at the Central Academy of Fine Arts (CAFA) in 2018, and he currently lives and works in Beijing.
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He has received First Prize for the Fine Arts at CAFA, the Inter Youth Artwork Award (2015), the Inter Youth Innovation Award (2016), the Originality at the Academy New Talent Award and the Outstanding Artwork Award from the Oil Painting Department at CAFA (2016). His graduation work Objects from an Ideal World was added to the permanent LYC Collection (CAFA Art Museum). In 2020, his work was collected by White Rabbit Gallery in Australia and recommended by TARGET magazine.

Anouk Lamm Anouk is ar=s=c prac=ce spans pain=ng, drawing, sculpture, installa=on, and wri=ng. Their manifesto claims: “No Age, No Gender, No Origin”, or as they say: “I am no one I am nothing” which could be a reference to their embedment in Zen Buddhism. Anouk iden=fies as trans-non-binary and by virtue of this and living as a Person with au=sm, it is crucial to them to rid themselves of the external a`ribu=ons and labels that come from norma=ve society in order both to see and encounter others without the violence of classifica=on and an=cipa=on, to be truly open.
The star=ng point of their pain=ngs is the raw linen, the canvases itself is crucial. The unprimed frontside of the linen is a living part of their works and becomes a connec=ng visual element across several series. Their colour pale`e is strictly limited, most oDen to earthy colours, hues of black and off-white are also present; reduc=on is key. Anouk works both in series and independently of series – some pain=ngs are solely abstract, while others are predominantly figura=ve – all of which is connected by unique handwri=ng and gestural strokes. Text or text fragments are also part of their prac=ces. The texts are inten=onally unobtrusive, some=mes they require viewers to look for them. These give a hint or raise ques=ons.
In their work, Anouk returns to certain mo=fs, beings, and rhythms, which they unite together into a singular, holis=c cosmos, with the aim of conjuring peaceful spaces for contempla=on with a strong undercurrent of desire. This can be seen in their mostly figura=ve representa=ons in the “Lesbian Jazz” series, which features abstract symbols and mo=fs embedded next to naked bodies. The bodies on the canvas are oDen female or non-binary, some=mes sexless, and always anonymous. Faces or facial expressions are rare and usually leD out, because “Lesbian Jazz” portrays above all iden=ty, a lifestyle, a community, and not individualised portraits. Their ar=s=c prac=ce emerges from the urgent need for queer visibility in a world rife with discrimina=on, and their pain=ngs explore the visual languages of fluid iden=ty and body as they are coded and re-coded within society.

The artist expresses what is difficult to put into words through drawings and writings. Her work is particularly inspired by the light of spring and summer, as well as books. Books, to her, are more than mere reading materials—they are both physical and intellectual mediums with a unique allure. Clear and tangible in hand, yet boundless in depth, books share a striking resemblance to paintings, a connection the artist continuously explores.
When faced with overwhelming moments or passing waves of solitude, she often finds solace in libraries and bookstores. In these spaces, where the energy of those who create books and those who seek them converges, the act of flipping through pages amidst unfamiliar crowds brings a quiet sense of comfort. Sometimes, without intention, she stumbles upon a sentence that feels as if it was meant just for her, experiencing a fleeting yet profound resonance. These moments are not grand revelations or life-altering epiphanies, but rather subtle, transient impressions—precisely because they are so brief and delicate, she seeks to hold onto them. Through light, color, and form, she translates these experiences into her art, inviting viewers to share in her quiet yet deeply felt reflections.

Kohei Nawa is a multidisciplinary artist whose diverse practice explores the perception of virtual and physical space and examines the relationship between nature and artificiality, and between the individual and the whole, illustrating how parts aggregate together, like cells, to create complex and dynamic structures.

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.

Cildo Meireles creates complex installations and sculptures that entice the viewer and challenge political, philosophical, and aesthetic precepts. Meireles’s artistic practice was shaped by the social and political conditions during the dictatorship of Brazil in the 1960s and ‘70s, and by the Neo-Concretism and avant-garde movements. Like his predecessors, Meireles merges physical, cerebral, and sensorial elements in works that elicit audience participation.  While Meireles’s works are often created in response to specific political events and situations, they evoke universal themes that are communicated through the viewer’s experience in a shared, rigorously designed and defined space.
Meireles’s work has been exhibited internationally, including the Biennales of Venice, Italy (1976, 2003, 2005, 2009); São Paulo, Brazil (1981, 1989, 1998, 2010); Documenta, Germany (1992, 2002); and Istanbul, Turkey (2003, 2015). The artist has been the subject of several large-scale and traveling solo exhibitions at renowned institutions, including Sesc Pompeia, Sao Paulo, Brazil (2019); Centro Nacional de Arte Contemporaneo Cerrillos, Cerrillos, Chile (2019); Fundação de Serralves, Portugal (2014) HangarBicocca, Milan, Italy (2014); Museo Nacional Centro de Arte Reina Sofía, Spain (2013); Museu d’Art Contemporani de Barcelona, Spain (2010); Museo Universitario Arte Contemporáneo, Mexico (2010) and Tate Modern, England (2008).

The characters that form the motifs of my work are common images that I have created. They are given a writing order and symbolized, and the process of preservation and change in the repetitive writing is established in the work as several afterimages, like time-lapse photography. Whenever the viewer sees a character that he or she does not remember, the difference between his or her memory and the work is evoked and referenced to the character in his or her memory, and this process reconstructs the work as a painting with intensity. The work also serves as a device to strengthen the connection between the viewer and the character with feelings of "I don't understand" or "What is this?", and as a record of a living person, not only as a work of art, but also as a portrait with an aspect as a recording medium.

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.

Ho Sangun captures familiar yet strange scenes encountered in everyday life or while moving from place to place, recording them through photographs and drawings made with paper and colored pencils. Chosen for their ease and accessibility as recording tools, paper and colored pencils have become defining materials in Ho Sangun’s practice; they allow him to contain moments that might seem trivial or insignificant, sometimes spontaneously, sometimes with great delicacy, while pinpointing meaningful details within them.

Through the act of “drawing,” Ho Sangun has long communicated with the world—listening to others’ stories, living as an observer, and speaking about what he sees. If Hosanggeun Reproduction Center, a project he has sustained for over a decade, represents a way of remaining open to the world by “listening” to the stories of others, then drawing—his primary practice—functions as an act of “speaking.” Through drawing, he narrates what he has observed while drifting and moving through life, as well as what he has encountered by chance.

Shigeki Matsuyama is a Japanese contemporary artist. His work was shaped by his early career as an illustrator and his philosophical reflections following the 2011 Great East Japan Earthquake. He has since pursued a more conceptual art practice, reinterpreting through his work the impact of modern society's consumerism, pop culture, media, and technology on the human experience. His works provide visual play through the use of repetitive patterns and intense colors, and he is expanding his artistic expression through various media,
including not only painting but also objects and installations.

Arin Rungjang is known for deftly revisiting historical material, overlapping major and minor narratives across multiple times, places, and languages.

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.


Born in 1997, Warisa (Shinnawat Sa-nguanjuk) graduated from the Faculty of Architecture and Design, majoring in Communication Design, at Rajamangala University of Technology Rattanakosin. He began creating acrylic paintings under the name ‘Warisa’ in 2021.

Warisa first came to prominence in the contemporary art scene after participating in Bangkok Illustration Fair 2024, which led to his invitation to showcase his work in the group exhibition “First Light: The Joy of Discovery in Contemporary Asia” (2024), presented by All About Art Gallery and held at River City Bangkok. Both showcases received widespread acclaim, marking Warisa as one of the new generation artists to watch—known for his distinctive visual language and introspective sensibility. 

His artistic inspiration stems from the idea of the garden in its many forms—a space where emotion, memory, and imagination intertwine. Influenced by cinematic storytelling, Warisa’s paintings transform scenes of nature into poetic narratives filled with atmosphere and quiet contemplation. His works do not merely depict the beauty of nature, but evoke a world of feeling—one that exists delicately between reality and dream. 



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

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

Mónica Loya (b.1990, Mexico) has shown at KÖNIG in Mexico City and exhibited widely across Mexico, the United States, the United Kingdom, and Portugal. Her work merges sharp visual instincts with everyday imagery, constructing dissonant compositions that evoke the surreal logic of dépaysement. Found moments from smartphone snapshots and scenes from daily life are reconstructed on the canvas in new, ambiguous contexts. Through witty compositions, fluid lines, and vibrant tones—often red, blue, and pink—Loya transforms the ordinary into invisible yet emotionally potent events. The viewer is invited to observe and complete the work through their evolving emotional engagement, stepping directly into her open-ended world.

Based in Seoul, Lee Heami explores the diverse material qualities of clay. She creates freely formed objects unbound by function, and through the repeated process of silvering their surfaces, she speaks to the accumulation of time and the nature of connection. By hand-building, firing, and layering silver onto her forms, she expresses a condensed beauty and fluid sensibility — works that respond with quiet attunement to the temperature and humidity of a space, drawing the viewer into a sensory dialogue. Lee Heami's practice is an open-ended sculpture that transforms through relationship, always moving toward but never fixing itself at completion.

Exploring photography not just as a mere recording medium but as a sculptural material with infinite possibilities, and through this, constructing a new visual language.

Artists