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

Hye Yeong Kim (b.1995) is an emerging artist based in Korea, whose work explores themes of solitude, isolation, and stillness. Trained in traditional Korean painting, Kim combines Korean pigments with contemporary media, including acrylics, oils, and oil-colored pencils on linen and canvas, to produce highly detailed and realistic works. Her paintings often depict vacant homes, solitary figures, and expansive landscapes, creating tranquil spaces that invite quiet reflection and contemplation. 

Central to Kim's practice is the belief that solitude is a crucial condition for personal growth and self-discovery. Drawing inspiration from Paulo Coelho’s notion of solitude as a transformative force, Kim’s work offers viewers a respite from the distractions of modern life. Through her serene, immersive landscapes—often featuring the sea—she creates spaces where viewers can engage deeply with the artwork and reflect on their own experiences. With her unique fusion of traditional techniques and modern sensibilities, Kim is quickly establishing herself as a distinctive voice in the Korean contemporary art scene.

Pang Torsuwan (b. 1981) is a self-taught artist who earned her Master’s degree in Marketing from Monash University, Australia. Her career began in advertising, marketing, and the fashion industry, yet her lifelong passion for art eventually called her back. In 2017, she devoted herself fully to painting, with a particular focus on oil, and by 2019 she was invited by a gallery to present her debut exhibition. 

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.

﻿I begin my work by examining the surface of worn coins, an act that calls forth forgotten civilizations rather than mere observation. Using optical and electron microscopes, 
I extend microscopic surfaces beyond the limits of the naked eye and translate them into visual language, juxtaposing additional images onto the metal.
The microscopes are not merely tools of magnification but devices that transform perception. I no longer see coins as currency, but as material records where power, belief, and identity are compressed, their cracks and textures revealing layers of time and history. I overlay these surfaces with newspaper articles, film scenes, and symbolic objects, allowing images from different eras to collide and intersect within a single frame.
For me, magnification is both a physical expansion and a metaphorical leap toward deeper perception, where scientific visuality and imagination coexist.
Ultimately, this work uses technology to reveal the unseen and question what is recorded or erased, turning the coin into a canvas for lost voices.

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.

Gabriel Orozco attended the Escuela Nacional de Artes Plásticas between 1981 and 1984 and in 1986, moved to Madrid to continue his studies. In 1987, Orozco returned to Mexico City, where he associated with a group of other artists including Damián Ortega, Gabriel Kuri, Abraham Cruzvillegas and Dr. Lakra. This group met once a week for five years to talk about myriad artistic and cultural projects. 
Orozco has had many important solo exhibitions, including the Museum of Contemporary Art in Los Angeles, in 2000; the Hirshhorn Museum, Washington D.C. and the Serpentine Gallery, London in 2004; the Museo Nacional Centre de Arte Reina Sofia, Madrid, (2005); the Museo del Palacio de Bellas Artes, Mexico City and the Museum Ludwig, Cologne (2006). The Museum of Modern Art in New York organized a mid-career retrospective that toured to the Kunstmuseum Basel, the Centre Pompidou, Paris, and ended at the Tate Modern, London, in May 2011.  Other important solo exhibitions include the Guggenheim Museum, New York, 2012, the Museum of Contemporary Art Tokyo MOT, Tokyo, Japan (2015);  and the Aspen Art Museum, Aspen, in 2016. Orozco participated in the Venice Biennale in 1993, 2003, 2005 and 2017, the Whitney Biennial (1995 and 1997), as well as Documenta X (1997) and Documenta XI (2002). 
In 2019, the President of Mexico announced that Orozco would, in conjunction with the Secretariat of Culture, oversee the construction of a major new cultural center within Chapultepec Park in Mexico City. Gabriel Orozco lives and works between Tokyo, Mexico City and New York.

Be Takerng Pattanopas
(b. 1965, Thailand)

Be Takerng Pattanopas ’s practice emerges from twin obsessions with space within and space without. His exploration of the human body’s interior, through drawings, installations, paintings, and sculptures, symbolises the infinity of the cosmos. This might be a distinctly 21st-century preoccupation – the zeitgeist of this age as our world seems both smaller and bigger than ever.

The artist has suffered complex health issues with benign tumours in adrenal and pituitary glands. This is addressed through hybrid forms that play with symbolizations of voids, microscopic invasions of the body, and also tunnels and monoliths. The latter motif was inspired by Stanley Kubrick’s famed film 2001: A Space Odyssey, based on the sci-fi novel by Arthur C. Clarke. All the elements are precisely orchestrated by the artist so that the viewer’s experience is strangely ambiguous, or meanings appear perpetually in flux as they contemplate expansive metaphors of self.

Pattanopa’s completed a Ph.D. (Fine Art) at Cheltenham & Gloucester CHE in the UK. Solo exhibitions include Space of 25 Light Years (JWD Art Space, Bangkok, 2021); The Nerve That Eats Itself (Gallery VER, Bangkok, 2018); What I Don’t Know That I Know (H Gallery, Bangkok, 2013); Compulsive Orders (Tally Beck Contemporary, New York City, 2011); and Permanent Flux (GMT+7, Brussels, 2009). Commissions and group exhibitions include GAP the Mind (2012), i Light Marina Bay (Singapore); and SPECTROSYNTHESIS II– Exposure of Tolerance (Bangkok Art and Culture Centre, 2019-2020). He is the Director of the Communication Design Programme (CommDe) at Chulalongkorn University in Bangkok.

Born in Hanover in 1964, Baumgarten studied at the “Staatliche Akademie der Bildenden Künste Karlsruhe” and the “École Nationale Supérieure des Beaux-Arts de Paris”, later receiving his MFA from Tokyo University of the Arts in 1999. Since 2008, he has served as professor in the Department of Painting at Hongik University, establishing his practice in Seoul. His sustained artistic concern has been the hybridity of architecture and lived experience within urban neighborhoods. When he first visited Seoul in 1993, the dense vistas of red-brick and concrete houses climbing the hillsides struck him as at once unfamiliar and compelling. He has since focused on the hybrid landscapes born of the encounter between Western architectural order and Korean sensibilities of habitation, articulating them through his visual idiom.

Frédéric Bruly Bouabré was an Ivorian artist and philosopher best known for creating a unique visual language that combined drawings, symbols, and text to preserve Bété culture and share universal knowledge.

Imhathai Suwatthanasilp is an internationally known artist, in particular for her use of human hair as the main material to create her artworks. She relates hair to the human experience through works that are tactile and emotive, posing existential questions to the audience. As such, Imhathai’s works explore notions of gender equality, life, death, violence, morality, and spiritual and beliefs systems especially in relation to Thai society. Responding to ongoing social concerns, Imhathai’s recent works expand to environmental issues that emphasise our individual participation and responsibility towards how we care for the nature surrounding us. 

Candy Koh is an artist, writer, translator, and (sometimes) attorney based in New York City. Much of her artistic practice stems from her interest in the historically spiritual and community-binding role of the artist across various human civilizations. A signature element of her works, date/time/weather stamps situate all of her works in a specific time and space, and allude to pervasive themes in her work: finiteness of the physical world, boundlessness of the unknown, and contemporary neuroses. She works in a variety of mediums such as painting / drawing, sculpture, installation, performance, and photo / video. She has shown her works at solo and group exhibitions in both New York City and Seoul, Korea. Her writings have appeared in art publications, such as ArtAsiaPacific, art critical, and Seaweed Journal. For her M.F.A. thesis before the K-Pop boom, she wrote “Investigating the Gangnam Style Phenomenon: Global Eurocentrism, Asian Masculinity, and Psy,” which examined the representation of Asians in American visual culture, and signifiers that transcend cultural and linguistic borders. She holds an M.F.A. in Art Criticism and Writing from the School of Visual Arts, New York City, and a B.A. in Sculpture and Literature from New School University. She is also a graduate of the J.D. program at Fordham University School of Law.

SeNa Hwang expresses emotions of loss and anxiety through a symbolic figure—a child with empty eyes. The vacant pupils and sharp whites of the eyes imply complex inner emotions and the possibilities that lie beyond. To articulate and clearly convey these feelings, the artist employs the simple contrast of black and white through the medium of charcoal. The process of drawing and smudging charcoal lines repeatedly resembles the human journey of experiencing wounds, healing, and self-discovery. The work begins as an outlet for suppressed emotions and gradually expands into an exploration of self-understanding and acceptance. The light and shadow within SeNa Hwang's compositions transcend mere visual elements, offering an experience of self-awareness and deep introspection. This reflects the artist's attitude of caring for and healing oneself through affection for others. Her works convey more than visual beauty, inviting viewers to share in the journey of self-discovery and growth amid loss and anxiety.


Based on the act of sculpture, which involves cutting, gluing, and chipping away at materials, He is experimenting with rethinking the process and structure of sculpture. He views the act of sculpture as a process of simulating the form of a large sculpture through drawings and small maquettes, rather than simply accumulating masses, and also as a process of reconsidering the internal structure of the sculpture, the hierarchy of masses and surfaces, and revealing the traces created in the gaps of such sculptures. Rather than creating a single direction, the artist explores the act of sculpture and the form of sculpture derived from it, which is directed in multiple directions to perceive the space-time of reality in different ways.

Udomsak(born 1966, Bangkok; lives and works in Chiangmai) Krisanamis’ practice has long been characterised by his specific use of collage, creating obsessive pattern made from newspaper, noodles, cellophane and paint. Over the past two decades Krisanamis’ work has maintained a distinct formal and conceptual clarity, offering a unique experimentation with the well-worn territories of grid.

While his paintings refuse to adhere to any particular context or obvious narrative, his imagery has undergone certain key transitions. Earlier paintings comprise of densely layered textured grids that resemble stellar landscapes, satellite imagery, twinkling cityscapes and blinking digital universe. Viewed in detail, these works shift between the worldly and otherworldly, the sublime and everyday. More recently, this intricate detail has been replaced by bold, reductive statements of monochrome colours such as hazard orange and fluorescent yellow, the surface of which is built up from wedges of found material embedded between layers of acrylic paint and paper.

Selected recent solo exhibitions include Gavin Brown’s Enterprise, New York (2007, 2012); Kunstverein Freiburg, Germany (2011); VER Gallery, Bangkok, Thailand (2006, 2016); Gallery Side 2, Tokyo, Japan (2005); Giti Nourbakhsch Gallery, Berlin (2004); Kunsthalle Basel, Basel (2003); Wexner Centre for the Arts, Columbus (2000) and Fruitmarket Gallery, Edinburgh (1999). His work has also been included in several group exhibitions at venues such as the Bangkok Art And Culture Center (2012, 2014); CCA Andratx, Mallorca, Spain (2011); Kestnergesellschaft, Hanover (2008); Kunstmuseum Wolfsburg (2003); Walker Art Center, Minneapolis (2001) and Whitechapel Art Gallery (1999).

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.

Hansol Noh shows an interest in the impact of the diverse meanings and information that have been conveniently defined around us on our thoughts. She connects these concepts with language and focuses on painting, primarily utilizing Korean painting media. The artist draws inspiration from the images encountered in daily life, selecting those that evoke a sense of dissonance when observed. Having experienced the redefined significance and symbolism of something once accepted differently, the artist ponders common symbols, the processes of their formation, and the definitions prevalent in our surroundings. Attentive to the subjective meanings and interpretations born from personal experiences, she continues her work, exploring these queries.
She believes that the criteria for defining and evaluating something often rely on 'visible appearances or momentary, fragmented situations.' She finds the act of 'defining' intriguing, as it can assume different facets depending on the individuals defining it. When others define something this way, the intricate narratives surrounding it get omitted, leaving only a partial depiction. This raises questions about its impact, a subject she wishes to explore further.

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.


Alex Face (Patcharapon Tangruen) is a renowned Thai graffiti artist celebrated for his thought-provoking street art that transcends boundaries in Thailand and beyond. In 2009,
inspired by his newfound fatherhood, he introduced a distinctive three-eyed, bunny-eared character symbolizing innocence and wonder. Known for his street art skills and mastery of European old masters' techniques, Alex Face has seamlessly blended traditional and contemporary elements. In 2022, he marks two decades in the realms of street art and BANGKOK CITY CITY GALLERY fine arts, leaving an indelible imprint on the urban landscape and art scene worldwide


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

Pawarisa wangkhomfu was born and raised in Phayao. She graduated with a bachelor’s degree from the faculty of painting, sculpture and printing, Silpakorn University. She had participated in Portrait Prize exhibition in 2023 and Being human exhibition in 2019. Moreover she had participated in Art Busan, an international stage in 2024. She has solo exhibition “Younger Dryas” in 2023 and "Human Behaviour" in 2024.

Soo Kyoung LEE (b. 1969, S. Korea) lives in Paris and works in Paris, Brussels and Seoul. She is represented by Galerie Oniris in Rennes, MM Gallery in Brussels (Belgium) and Accompany in Busan (South Korea).

Soo Kyoung LEE creates her work by accumulating, visualizing, and erasing various actions through momentary intuition and constant observation. When several layers are stacked as the finished work is erased and overlapped again, the background color and shape may turn into the main character or new shapes may be created on it again. In a plane, these layers produce infinite depth, repetitive time, and rhythm.

The overarching theme of JIYOUNG LEE's work is the "Human Zoo." The term is inspired by zoos, depicting facets of human life where individuals, like animals in a zoo, lose their instincts and live predetermined lives shaped by societal expectations. The black ink wash surrounding the "Human Zoo" represents artificial rocks in the zoo, symbolizing societal norms, laws, and universal conventions desired by society. While seemingly protective, these elements also confine human nature. Through her art, JIYOUNG LEE aims to portray the individuality, homogenization, desires and confusion within this enclosed space, prompting reflection on the choices individuals make in navigating their lives within these confines.

[1,2,3] B

Untitled

[1,2,3] C

Blissful sleep

Swaying: The Periphery

Swaying: The Past

Door to Nowhere

Transferred 12 (Shipment)

Transferred 7

Transferred 8

Transferred 9

Transferred 10

Transferred 11

Transferred 12

Transferred 13

Transferred 14

Where the Tiger Butterfly Dwells

The Sea Unfolds Together

Slowly to the horizon

Walking Through a Long Day

The Uninhabited House

The Swallow's Resting Sea

The Night Sea Devours Many

All Reflected in the Water Are Me

A Plant that lives long in gentle warmth

A Long-flying Bird

Overlapping Light

A Boundless Map

Self-sustaining

In Search of a Summer We Never Knew

We Go Where the Light Lives

In the Night, Wings

Contrapunctus XIV (tribute to Georges Bataille’ series)

AdagieVo

Quantum

Priced

Echoes of Grace

D-Stone 02

D-Stone 01

Stone Composition 006

D-Stone 07

D-Stone 06

D-Stone 10

D-Stone 12

D-Stone 11

D-Stone 05

D-Stone 08

D-Stone 09

D-Stone 04

D-Stone 03

Gabriel Orozco, Revue 

untitled

Unknown Creatures No.2

Fish Scale Mountain

Plankton

Unknown Creatures No.1

Unknown Creatures No.3

Untitled (20230712-1)

Untitled (20230712-2)

here i am-2

for me

What Is It Your Heart Seeks?

here i am-1

After som time, we become blossoming bodies-1

After som time, we become blossoming bodies-2

After som time, we become blossoming bodies-3

What Have You Lost Beneath Your Seasons?

What Stirs You to Rise?

Melancholy

There's no one, Even so

In Time, We Bloom Beyond the Darkness 1

In Time, We Bloom Beyond the Darkness 2

In Time, We Bloom Beyond the Darkness 3

In Time, We Bloom Beyond the Darkness 4

In Time, We Bloom Beyond the Darkness 5

In Time, We Bloom Beyond the Darkness 6

How to warm up in a cold room

Stand Up

May You Live As Wide As Your Longing

Quarter Torso

Hand

Leg (Wu)

Upper Half Body (Wu)

Friday

Mind Drifting

Cherry Head

Wanted

Portrait

Mélange

Good for Now

To Reach You

Every Day Every Moment

Breaking Bad

HBD_07

Ice bear

A falling sphere

A Round Flame

Still life with Sphere and a floral crown

Lying teddy bear

A widening crack

The Beginning and the End

Path 3

Path 2

Path 1

Grasp 1

WITH THOMAS, 2014

WAITING PEOPLE, 2010

TOM & HUMAN, 2014

THE END, 2014

TASTE OF THE BEGINNING, 2010

START OF ART, 2010

RELIEFVUITTON, 2009

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

NO!!HERO, 2009

PRESENT, 2010

MOUSE HUNTING, 2010

MC DONALD HOME SERVICE, 2014

l WARDSTOCK FESTIVAL, 2010

IS HE KNOW NAMJUN PAIK, 2009

IMPRESSIVE INFLUENCE URINATE OF DUCHAMP, 2014

HI! DONALD, 2014

HEART OF BANKSY, 2010

JUST DO EAT, 2014

FAST, FREE MOON DELIVERY, 2010

DIRECTOR, 2009

CLOCK, 2010

CHANUN, 2009

A MASTEROIECE OF PICASSO, 2014

A HELLO TO ARMS, 2009

A GRENADE-THROWER, 2010

HUNTING, 2010

BATTLES, 2010

BETWEEN 83PAGE, 2010

IS HE KNOW NAMJUNE PAIK, 2009

Insensitive

S2340 Olive

People who try to balance without much strength 4

HER HISTORY

CHOICE

forest stage II

Animal house - The swan mask

People who try to balance without much strength 3

Our 1

Our 2

Our 3

Our 4

People who try to balance without much strength 1

With You (feat. On the Way to the Bean Field #2602)

With You (feat. On the Way to the Bean Field #2601)

Night of Waiting #2502

Drifting Togeher (feat. Ukiyo-e Waves)

With You (feat. Riverside Night)

If You Come, I’ll Be Happy #2502-1

Artists