Yerang Hwang depicts the contradiction and compassion of the familiar world. After receiving a master's degree in Korean painting from Sejong University, she broke down the boundary between western and oriental paintings, and reinterpreted oriental artworks from her own perspective. Concerned with the categories and medium of Korean painting, the artist experiments with several display approaches. Through the appearance of contradictory materials, visitors are prompted to consider the two opposing feelings, and the artist's vision of the world is depicted through the capture of everyday life. 

Sangnam Park has long pursued a practice that traverses painting, installation, and object-making,
tracing the “residues of emotion.” Through repetitive brushwork and layered surfaces on canvas and
found materials, he constructs what may be called the topography of the inner self. His works
balance spontaneous gestures with delicate materiality, creating a visual language where light,
texture, and emotion coexist in harmony.

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.

Hwasu Yoo, born in 1989 in Busan, graduated from the College of Arts at Dankook University and the Graduate School of Painting at Kookmin University. She has participated in five solo exhibitions and numerous group shows, expanding her international presence through major art fairs in Singapore, Hong Kong, and China.
Hwasu Yoo conceived her "Unrealistic Space" series from the anxiety and desire for stability stemming from repetitive daily life, habitual actions, and irrational situations. She transforms feelings and images based on experiences or the real world into collages on square or circular canvases, incorporating oil paint and fabric objects to create an unrealistic "virtual world." The artworks prominently feature flowers, horses, and children, with the children symbolizing freedom as they collect words from floating horses that travel for play. The horses disguise themselves within their surroundings, avoiding capture. Through the acts of "drawing" and adding "fabric objects," the artist creates imaginative spaces where exhausted figures, masked as boys and girls, seek playfulness, reflecting her unique narrative towards a utopia.

Seok Cho(born 1983) is currently working in Seoul and debuted with a work called <The Sound of Your Heart> on Naver Webtoon in 2006. Since then, he has been active as a Naver Webtoon cartoonist, and with his first debut work, <The Sound of Your Heart>, he won the Popular Award at the Korea Manhwa Awards in 2007, 2008, and 2009, the Golden Dragon Award in China in 2015, and the First Prize at the Korea Manhwa Awards in 2017. In addition to <The Sound of Your Heart>, he has published series such as <Tidal Territory>, <Moon You>, <Planetary Human>, <Epilogue>, and <Apocalypse Live> and has also created numerous advertisement cartoons. Currently, he is working on <Planetary Human 2: Planetary>.

Phichai Keawvichit (b. 1975) is a talented photographer characterized by
his minimalist photography of architecture, gaining a reputation from his
Instagram with 80,000 followers and interview articles by several media.
He presented many photography exhibitions in several locally famous
photo galleries such as Accidentally Professional Exhibition (2019) in Silpa
Bhirasri’s House, Unlock solo exhibition in 2019 at River City Bangkok,
Urban Progress group exhibition in 2021 at Bangkok Art & Culture Centre,
and this latest one The Memoir of Movement in 2022 at River City
Bangkok is regarded as his second solo exhibition. Aside from
photography, Phichai loves writing to share his insightful stories. He is
currently the ‘Ekaphab’ columnist publishing his articles in Matichon
Weekly.

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


Using the traditional techniques of Buddhist art, he has been working to address various contemporary narratives by utilizing his own ‘minority’. His works combine narratives from his personal experience with religious and queer narratives, and through the various contradictory questions that emerge from this process, he asks essential questions about the dichotomous concepts of minority and majority that constitute contemporary society.

POSE began painting graffiti in 1992 and in years since has expanded his vigorous career to include murals, commercial collaborations and exhibitions around the globe. He earned his BFA from the Kansas City Art Institute in 2004, and then turned his own graffiti education into a body of work blending a wealth of pop culture’s ready-made visual languages. Street signage, comics, newspapers and advertisements are reimagined through dissection, digitization and reconstitution, collectively immortalizing post-industrial moments for the digital age. POSE was named “One to Watch” by CNN in 2015, and has exhibited in the Museum of Contemporary Art Los Angeles, Museum of Contemporary Art Denver, Powerlong Museum Shanghai, Museum of Contemporary Art Chengdu, and Chosun Ilbo Museum of Art, Seoul, among others. His work is enjoyed in numerous private collections worldwide.


LeeEu removes all figurative elements to focus on the materiality of the medium. The artist invites us to a sensitive and highly pictorial experience. We stroll through the fundamentals of painting: gesture, material, color. Sometimes the fleeting image of moss, of furrows dug by the wind. But soon, pure pictoriality takes over in the pleasure of colors and the overflow of elusive materials moved by an internal and mysterious movement. It was during her time as a fine arts major student at Hongik University (Seoul) from which she graduated in 1999, that she learned from the great masters of Dansaekhwa, a Korean non-figurative painting movement born in the 1970s. LeeEu’s love for the fine arts was cultivated and fostered through this experience and is still prominent in her work today. She arrived in France in 2003 and attended the school of decorative arts (École des Arts Décoratifs) in Strasbourg. In 2007, a diploma in hand, she entered a 16 months residency at the Cité Internationale des Arts in Paris. Having these new experiences, as well as encountering artistic movements such as Supports/Surfaces, allowed the artist to broaden her artistic horizons.

Alexandra Grant is a Los Angeles based artist who through an exploration of
the use of text and language in various media painting, drawing, sculpture, film,
and photography probes ideas of translation, identity, dis/location, and social
responsibility. Grant frequently collaborates with other artists, writers, and
philosophers, often going so far as to have specific texts written as the impetus
to her intricate paintings and sculptures. She has collaborated with author
Michael Joyce, actor Keanu Reeves, artist Channing Hansen, and the
philosopher Hélène Cixous, amongst others. Having spent significant portions
of her childhood and adolescence living in Mexico, France, and Spain, some of
the basic questions that fuel her practice are: How do the languages we speak
and the images we see form how we think and exchange ideas? How can
artists and writers work to create and influence culture in an increasingly
technology driven world?

Ian Ha (b.1997)aims to explore various possibilities of spatial illusions on flat surfaces by irregularly editing various materials and arbitrary subjects. Everyday objects, commonly seen in Ian Ha’s work, are dissected and rearranged by the artist, blurring the boundaries between painting and reality, while posing questions about the reality itself. This reflects the artist’s attempt to reproduce the contemporary phenomenon of desensitization to the flood of random information and images that are often not easy to filter or control, and also reflects the artist’s contemplation on how two dimensional art can be convinced in a technologically advanced society where the gap between virtual space and reality is gradually narrowing.
Ian Ha has B.F.A. in Seoul National University and is a candidate for M.F.A. in Columbia University School of Visual Arts. His solo exhibitions include Shifts and Echoes, Fragment Gallery, New York (2023); The Uncanny, Rabbit and Tiger Gallery, Seoul (2022). The artist also participated in group exhibitions such as in media res, The Blanc Gallery, New York (2023); Standouts, Fredric Snitzer Gallery, Miami (2023); Trajectory of Time, Space U, Bundang (2022).

Through meticulously balanced images that encourage prolonged attention, Sugimoto’s work focuses audience consideration on the ways in which humanity makes sense of itself. Sugimoto moved to Los Angeles in 1971, receiving his BFA from the Art Center College of Design in 1972. In 1974, he moved to New York, and became involved in the Minimal and Conceptual art scenes of the late 1970s. His best-known series, including Dioramas, Theaters, Seascapes, Portraits, Architecture, Conceptual Forms, and Lightning Fields draw heavily upon repetition, unifying disparate locations through shared compositions, and are characterized by use of long exposures, black and white film, and analog processes. In recent years, Sugimoto has begun to design architectural spaces that, like his photographs, use simplicity of form to focus attention on the mechanisms through which we understand the world.  

Sugimoto has had solo exhibitions at the National Museum of Contemporary Art in Osaka (1989), the Museum of Contemporary Art in Los Angeles (1994), San Francisco Museum of Modern Art (2000), the Guggenheim Museum Bilbao and the Neue Nationalgalerie in Berlin (2008), among many other venues. He has received many honors, including the Praemium Imperiale Award for Painting, Tokyo in 2009 and Officier de L’ordre des Arts et des Lettres, in Paris in 2013. In 2017, he was honored as a Person of Cultural Merit in Tokyo. His photographs are in the collections of the Metropolitan Museum of Art, New York; Museum of Modern Art, New York; National Gallery of Art, Washington, DC; San Francisco Museum of Modern Art; Tate Gallery, London; and many others.

Anya Paintsil (b. 1993) is a London-based textile artist of Welsh and Ghanaian descent.
Combining traditional hand rug making techniques with Afro hair styling methods, Paintsil’s practice is largely autobiographical. She takes inspiration from her childhood, family stories, and Welsh and Ghanaian mythologies, while exploring identity and gendered labour. Paintsil seeks to promote artistic practices historically devalued due to their associations with femininity and other marginalised groups.

Kim Ji-yoon (b. 1995) documents the landscapes she encounters through video and images, and reconstructs them into painting by focusing on the passage of time, the energy permeating the scene, and the fleeting moments of change and flow. Scenes easily captured with digital devices and smartphones are re-experienced through the screen, carrying layers of time and traces of light and temperature that were not perceived in the moment. The artist captures these sensations and builds time onto the canvas through the repeated gestures of brushstrokes and the act of rubbing the painted surface, using oil paint as her primary medium. The accumulated colors and textures on the canvas become another landscape of time—formed through the warmth at her fingertips and the resistance of the paint as she works across the surface.

SeoHyun Kim layers, cuts, and reassembles heterogeneous materials—oil paint, wax, resin, and fabric—allowing traces of different times to coexist within a single pictorial surface. Across this surface, undefined beings repeatedly emerge and dissolve, as fragments of memory and record carry on a loose, ongoing conversation.

Atreyu Moniaga is an Indonesian ar=st based in Jakarta. He graduated with a degree in Communica=ons and Visual Design from the Jakarta Ins=tute of the Arts (IKJ) and started his career in the crea=ve scene as a freelance illustrator and photographer before fully immersing himself as a fine ar=st.
His works are influenced by dark fantasies with a =nge of surrealism, in which he combines visual symbolisms as a way to communicate his most private thoughts, feelings, and desires. His works are characterised by a whimsical universe , led with beau=ful ornamental details.
‘Complex emo=ons that are oDen perceived as nega=ve, such as despair, grief, and anguish are fuels to my ar=s=c process. I try to convey these emo=ons through the visual universe I invented,
though I hope my audience can find a source of hopefulness and self- acceptance to confront their own grim facets. I oDen allow myself to be lost in my own thoughts, where I feel unbound in crea=ng these fic=onal stories and characters found in my works, my universe.’

Chris Ro (b.1976) is a graphic designer and artist. His work can be characterized for their kinetic, spatial, poetic and atmospheric properties. Born in Seattle, Chris went on to study architecture at the University of California at Berkeley. After working as both architect and designer he went on to study graphic design at the Rhode Island School of Design. This mixed background continues to influence his explorations that fluctuate between both two and three dimensions. He is often at home when exploring concepts in motion and space and their relationship to the more static surfaces of graphic design. He recently finished research exploring concepts in Korean space at Seoul National University.
His work has been exhibited all over the world and is part of the permanent collections of the Victoria and Albert Museum, Musée des Arts Décoratifs, Die Neue Sammlung, the Seoul National University Museum of Art, Hongik University Museum of Art, Platform-L Contemporary Art Center and the National Hangeul Museum.

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.

Sahapap Lertsamatijit holds a bachelor's degree from Silpakorn University. He has participated in solo exhibitions with Number1Gallery Formation of Nightmare (2022), Reflections of a nightmare (2024), I AM ORIGINNAL 3 (2019), Begin Again (2020), Hotel Art Fair 2022, and participated in the international stage Art Busan 2023.

Gungho - An artist with a collection of young collectors in the US, China, Taiwan, and Japan. He has incredible skill, working in a way that leaves no brushstrokes on the artwork.

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

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

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

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

Summer

Flower

Spring

Rose

Prey

Raising things

Artists