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.

Panuwat "Pay" Kamdee, born in 1999 in Chiang Mai, Thailand, pursued his studies in Fine Arts at Silpakorn University, Bangkok, where he cultivated a unique style that merges traditional Thai art forms with modern techniques and natural pigments. His work often explores the concept of a societal harmonious allegory, symbolizing ideals of unity, balance, and peaceful coexistence. Drawing from Thai mythology and folklore, Pay expresses these themes in a surreal, dreamlike style, presenting accessible and playful pieces that resonate with audiences. His work reflects his childhood memories, making his art both nostalgic and relatable.

Pay has exhibited extensively both in Thailand and internationally, earning acclaim for his innovative approach and thoughtful exploration of environmental and social issues. His art subtly addresses these concerns, inspiring audiences to recognize the depth of his work and its connection to Thai cultural identity. He has also participated in various community art projects, using his platform to promote sustainability and cultural preservation.

HaSeulLin Jeong has an interest in paintings that are located between images and materials and can simultaneously deduce the axis of time. She is a graduate of the Korea National University of Arts and the Academy of Fine Arts in Prague, where she studied Printmaking and Painting. Later, the artist deliberately leaves traces of the previous layer or creates a support structure that will be influenced by the prior and following layers of paint, resulting in visual interpretation. HaSeulLin Jeong's artwork provides the viewer with the experience of pondering for a prolonged period of time, imagining the source of the material, and sensing that the senses are real through an individual sense that is intuitive and universally shared. 

Minji Ryu recalls the emotions she experienced while observing the landscape in her daily life and investigates the manner in which gathered images are displayed in paintings. As a graduate of the Department of Fine Arts at Seoul National University of Science and Technology, she acknowledged the inevitable gap between the experience of gazing at reality and drawing it and took a moment to recognize the landscape that was shared through abstraction and conceptualization. Her paintings focus on the experience of seeing and reproduce the impression produced by substituting an object for a function consisting of light and darkness as a physical image. In this manner, the artist hopes that paintings will serve as a channel for evoking past experiences in the minds of the audience, so reviving their perspective on current life. 

Uji Handoko Eko Saputro (aka Hahan)
b.1983, Indonesia
 
Creates works characterized by an ongoing tussle between ‘high art’ and ‘low art’, blurring realism with decoration. His works illustrate a point of contact that exists between urbanization and agrarianism or between the local and the global that both critique and admit complicity with the structures and mechanisms of the commercial artworld. Indeed, themes of rejection and success are present throughout Hahan’s practice, which spans painting, sculpture, drawing and print-making. These works offer an insight into the psyche of a post-boom South-East Asian artist navigating the complexities and challenges of an expanding global art world.

In recent years, he has attempted to display an art with the concept that emphasizes on the interaction with the visitors and relate it with the development of art in global as well as its society. Based on his grounded interest in the realms of value, time and speculations, Hahan lays his nonpareil craft by showing a metaphorical atmosphere yet full of satirical humor. He would then elucidate the mapping of production / consumption matter of cutting-edge art market and its gleaming, and also the ironies which are then packed with alluring spirit of artistic exploration.
 
He was also one of the founders of Ace House Collective, a young artists’ collective and initiative space based in Yogyakarta . Ace House Collective is an artists' collective that works with communities and their networks in running a space as a youth art and culture laboratory. Established in 2011 on self-funding, this community strives to support and develop the potential and the contribution to the latest art practices by providing a platform for productions, dialogues, and collaborations through assembly forums and exchanges.
 
He has participated in numerous group exhibitions in Indonesia and abroad, such on Contemporary Worlds: Indonesia National Gallery of Australia, Canberra 2019, NGV TRIENNIAL 1st 2017 Melbourne and APT 7th 2012 Brisbane. His art works have been being collected by several art museums like Queensland Art Gallery of Modern Art (QAGOMA) Brisbane, National Gallery of Victoria (NGV) Melbourne, National Gallery of Australia (NGA) Canberra, Art Gallery of New South Wales (AGNSW) Sydney, Museum and Art Gallery of the Northern Territory (MAGNT) Darwin.

Lee Koz, through her artwork, delivers a deep contemplation on profound themes. The boundaries between memory and dreams, and the translational gaps and accompanying confusion that emerge from these boundaries, are experiences many people encounter but find difficult to articulate clearly. The artist attempts to represent these intricate concepts through her paintings. She explores how techniques evolve between the history of representation and the desire for documentation. Reproduction raises questions about what and how we remember, and these questions play a central role in a artist's creations. Lee Koz communicates his unique perspective on memory, dreams, and the spaces in between through her art. By addressing these topics, she connects with the lives of all, providing an opportunity for deeper thought and self-reflection.

Since the debut of her acclaimed Sealed Smile series in 2008, Kim Jihee has garnered widespread attention for her unique approach—blending traditional East Asian painting techniques with contemporary portraiture. Her works, known for their vibrant aesthetics and emotionally resonant narratives, have earned both critical acclaim and broad public appeal. She has participated in over 400 exhibitions at major galleries and museums across Seoul, New York, Los Angeles, Washington D.C., Miami, London, Cologne, Jakarta, Tokyo, Osaka, Beijing, Shanghai, Shenyang, Hong Kong, Taipei, Singapore, and Dubai.

Kim Jihee has held prominent solo exhibitions at institutions such as Gana Art Sounds and Gana Forum Space in Seoul. In 2024, she was invited for a blockbuster solo exhibition at China’s K11 Art Museum—led by Adrian Cheng, one of the world’s top 100 super collectors—and became the first Korean artist to collaborate with Discovery Park in Hong Kong. Her solo exhibition at Breeze Nanshan’s 333 Gallery in Taiwan further solidified her strong presence in the Chinese-speaking art world.

Her collectors include a notable list of global elites: Sabrina Ho (daughter of the late Macau casino magnate Stanley Ho), H.H. Sheikh Saud bin Sultan Al Qasimi of Sharjah, UAE, and other high-profile international art patrons. She is frequently referred to as “the artist loved by the super-rich.”
Beyond the gallery context, Kim Jihee actively engages in cultural collaborations. She participated in collaboration with Royal Salute 55 Years Old as well as Seoul My Soul in Dubai, a drawing performance exhibition co-hosted by the Seoul Metropolitan Government, which attracted over 4,000 viewers. Her past brand collaborations include SK Telecom, LG Eletronics Objet Refrigerator, Stonehenge, Girls’ Generation, and Chinese cosmetics brand LIMI. Her work Sealed Smile was selected as the cover image for the 2025 high school art textbook in South Korea.

As a leading figure in contemporary Korean art, Kim Jihee continues to expand her global influence, establishing herself as a distinctive voice in cities around the world.

HYEONYOUNG KIM interprets and visualizes phenomena by substituting accidental events in life into the materiality inherent in clay.
She challenges traditional ceramic paradigms while studying the inherent potential of clay.
Unpredictable and uncontrollable elements serve as the key to completing her world of work, and just as gypsies read the meaning through the coffee powder phenomenon at the bottom of a coffee cup, she also attempts to interpret the meaning of an accidental phenomenon discovered in the course of her work.
Through this, this old material, which was considered somewhat boring or monotonous, is newly recognized in modern times.


Annette Hur (b. 1984-) explores the unconscious manipulation and subversion of female sexuality within culture through her large-scale oil paintings and abstraction of Korean silk fabric. The artist gained attention in the art world after being invited to the 'KingWoman' special exhibition at the Urban Zen Center by Donna Karan in New York in March 2019. The exhibition, commemorating International Women's Day, aimed to raise awareness of the importance of women, and Heo's works drew attention by reflecting her experiences and emotions in her pieces. She focused on expressing her experiences of patriarchal environments, domestic violence, depression, and efforts to overcome them through her art. The excessively abstracted forms mimic the body, organs, and surface wounds, creating tension around everyday violence in the surroundings. While the overall imagery is abstract, she narrates stories of bodily experiences exposed to unsafe environments such as fingers, wounds, and vomiting within her works. Choosing a method of expression that transforms vulnerability into strength and acceptance into resistance, Heo continues her active artistic endeavors with numerous solo exhibitions.

Alum Lee uses patterns commonly found in the fashion industry, such as dots, stripes, and checks, to move between flatness and illusion, distorting the screen, and revealing flatness through pictorial traces. Through this, she evokes latent data about space, deconstructing and recombining them once again, overlapping layers to produce complex processes of work.

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.


The internationally acclaimed filmmaker Park Chan-wook (b.1963) has demonstrated his passion for photography through a wide variety of media channels. Park questions himself the reason behind the act of taking a picture, leading audiences to contemplate the nature of photography as a medium. In stark contrast to the carefully orchestrated scenes in his films, his photographs readily embrace happenchance and the unexpected, while at the same time possessing incisive and wry humor coupled with powerful drama. As the artist describes his photography practice, coincidence and spontaneity play crucial roles in his photographs as an 'antidote' to his experiences in filmmaking. Park, who as a commercial film director would have most astutely trained the ability to capture the sentiment of the times in his works, provides us with the motive to proactively expand the realm of unexpected beauty within the most habitual scenes of our everyday life.

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.

Yohei Yama is drawn to elemental energies and his hypnotic works lay claim to the
transcendent power of art to heal, or to atone. From the paralyzing aftermath of the 2011
nuclear disaster in Fukushima sprang the essential motifs that characterize his work – little
trees, rays of light and swirling winds bridge and rebuild the bond between the artist and
nature.

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.

Antony Micallef (b. 1975, Swindon, UK) is a British contemporary artist working in London. He was notably taught by the austere landscape painter John Virtue, who was taught by the postwar painter Frank Auerbach.
Described as a modern expressionist, Micallef roots his work in social commentary and self-examination. Known for his visually charged figure paintings, he uses oil paint in a groundbreaking way; he is able to literally sculpt and form the paint to reconfigure the parameters of what an oil
painting can be. Combined with his impasto and layering techniques, the oil paint is pushed to its extreme and blurs our reading of painting and sculpture.
Micallef’s recent paintings are created using these unique methods where the oil is changed into a material to realise a new form of physical embodiment.

After working as an architecture 3D renderings in Japan, he moved to the United States and started working as an artist in New York. He creates characters called Poi in sculptures and paintings, and installs them in various places in the city. When he sees the installation locations on a map, he places them in the shape of Poi. “Poi” means “Path of Imagination”. The artist's wish is that everyone in the world can live in harmony so that everyone can smile. The Poi placed throughout the town heals and encourages the hearts of those who meet them, like Jizo statues on the roadside.

Yujiro Ueno is an up-and-coming artist creating paintings with motifs of dragons, tigers, birds, and other creatures based on the idea of "chi" in Eastern thought. Based on the theory of Yin-Yang and the Five Elements of the Universe, which views all things in the universe as two opposing elements

Borrowed Scenery-Gwanhaeeum

Auspicious Scenery

Tiger Cry

Letters to Layer-Stripe

Letters to Layer-1

Orange Hill

Toast

Letters to Layer-Swan

Letters to Layer-Parchment

Letters to Layer-3

18!practice

Cake itself

Sunday special

Spotted dog

10!practice

Language of cake

Fitting hole

A moon

The shape of leaves

Untitled

Flowery

A tree with the street lamp

The color of days 

The way of leaves

Surface

Dreaming Over the Year (from Hanging on the Wall Series)

J-D The front door of Choi Jeong-ja's house-Two persimmon trees-Furnace-A wall-Clamatis

Haok Valley-Down #B

Haok Valley-Down #B-1

Sealed Smile-Trunk S

Sealed smile

The Fancy Spirit-Trunk S

Eternal Golden

Autonomic Drugs 1250_B(4pieces)

Autonomic Drugs 1250_Y(16pieces)

Autonomic Drugs 980-1250(9pieces)

Autonomic Drugs 1250_R(16pieces)

Gleam_00

The Brightest Stone

Shadow_05

Reflection_02

Nocturnal Reflection(Reflection_03)

Unwind_00

Dot pattern

Ginghamchck pattern

Circle_1

Circle_2

Grasp 1

Path 1

Path 2

Path 3

Washington, D.C.

Kampong Baru (New City) (6°4449565, 101°8192214) #9

Kampong Rumohapee (Village Light House) (6°4431094, 101°8244366)

Bukit (Mountain) (6°4458968, 101°8181669)

Kampong Baru (New City) (6°4449565, 101°8192214) #1

Pula (Island) (6°4351795, 101°8285401) #1

Pula (Island) (6°4351795, 101°8285401) #2

Bukit (Mountain) (6°4458968, 101°8181669) #2

Bukit (Mountain) (6°4458968, 101°8181669) #3

Bukit (Mountain) (6°4458968, 101°8181669) #4

Kampong Baru (New City) (6°4449565, 101°8192214) #2

Kampong Baru (New City) (6°4449565, 101°8192214) #5

Kampong Baru (New City) (6°4449565, 101°8192214) #6

Kampong Baru (New City) (6°4449565, 101°8192214) #10

Kampong Baru (New City) (6°4449565, 101°8192214) #11

Kampong Baru (New City) (6°4449565, 101°8192214) #12

I Once Saw a Man Who Stood Still W1/30

A Man without Words H1/30

Erased Landscape

Forest in a Moment

Quiet Light

Autumn, Light of the Wind

Suspended Motion

Dancing Trees

Silent Autumn

Wind Through the Leaves

Breath of Autumn

Edge of the Landscape

Winter Dawn

A Summer Forest Holding Autumn

Early Winter Wind

Window of Winter

The Tree by the Window

Winter Seeping into the Dark

Shadows of Verdure

Constructing Auras No. 12

Raw Intent No. 10,

F$CK

INNER UNITY

KulikalaDragon No .3

Flow— Carp— No .8

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