The picture frame's glass, which ought to be transparent, and its curved frame—the unsettling undulation of that unfamiliar surface—create a 'gap' in the air. As a result, a 'beside' space is immediately formed between the artwork and me. An opportunity arises for us to be fitted together, much like puzzle pieces. Instinctively, we send a fragment of our 'raw' sensibility through that gap, and are quickly seized by the tickle and urgency of wanting to touch and hold the work, prompting us to boldly step closer and move our bodies around in all directions to appreciate it.

The works of Wonjoo Park placed before us always have the appearance of being tenderly caressed. To achieve this, the artist bends glass at high temperatures in her studio, breaks wooden pieces into fragments only to reassemble them, and handles cast iron. She wishes to downplay and minimize the mention of the hardship involved in the process of wearing down these raw, rough edges. This particular preference, in return, grants Park Wonjoo's work its unique expression. The artwork, solely in order to approach us softly, appears as if much has already been resolved and reconciled, or it embodies the will for such resolution.
- Hayoon Kim

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.


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.

Park Younghwan has sustained a painting practice grounded in the tradition of East Asian landscape painting, combining imagination with architectural composition. Through variations of ink on hanji including cheongmeok (bluish ink) and dameok (dense, fully-loaded ink) he lends subtle chromatic strata to black-and-white surfaces, juxtaposing nature and geometric form, figures and symbols, within a single scene. Perfect black spheres, Western buildings in modern styles, tangled stands of trees, and figures recalled from memory all find their place on the picture plane, where a fictive order and the artist’s personal temporality are realised simultaneously within the landscape.
The sphere (gu), the artist’s basic unit, appears as the most emblematic object in the work, distributed across the surface in differing sizes and gradations of ink as though tracing the arc of elapsed time. It becomes, at once, the artist himself present in the many times and spaces of a life’s journey and the record of a process moving toward the most ideal form of living to which he aspires.

Director Jacq / Wayn Traub (Brussels, 1972), is a visionary Belgian artist whose practice dissolves the boundaries between film, theatre, textile art, and sacred ritual. His work is driven by a pursuit of “Total Art”, a seamless, immersive fusion of image, sound, and lived experience.
Director Jacq holds a Master’s degree in Film Directing and Art History. His career began in visual arts, with early explorations in video and intricate hand-embroidered textiles, before evolving into groundbreaking stage direction. From 2004 to 2012, he served as Artistic Director at institutions including Bourla Opera in Antwerp and Le Théâtre de la Ville in Paris, collaborating with icons such as Jane Birkin and Alejandro Jodorowsky.
Since 2012, Director Jacq has been based in Thailand, where his focus has returned profoundly to the material and narrative possibilities of textile. Here, he creates his monumental hand-embroidered copes—each requiring four to five months of meticulous stitching on traditional Thai fabrics—weaving personal mythology into devotional objects.

He is internationally celebrated as the pioneer of “Cinema Opera,” a form of multidisciplinary ritual theater that transforms the stage into a space of communal initiation. In Director Jacq’s philosophy, art is not merely observed but entered, felt, and lived, an act of spiritual awakening and transformation.


Beyond his studio practice, Director Jacq is an avid curator, collector, and cultural catalyst, collaborating with museums such as S.M.A.K. in Belgium and MOCA Bangkok. His multidisciplinary vision continues to expand, always seeking the point where craftsmanship, cinema, and ceremony become one.

Sono Moon explores the concept that nothing truly disappears; instead, things transform and endure in different forms. Her work is a poetic investigation into the "geometry of memory" and the "physicality of time."

Through her signature character, Hornelle—a being as small as a sugar cube—the artist reimagines vintage objects not merely as relics, but as expansive rooms and entire universes. For Moon, painting is the act of gifting a "room" to the viewer—a sanctuary where one can quietly linger amidst the joys and sorrows of life.

Her practice is divided into two distinct yet interconnected realms: Narrative Figuration and Material Abstraction.

In her figurative works, Moon utilizes the "Marie Antoinette Palette." These faded pastels and remnants of gold serve as a linguistic tool to bridge the atmosphere of the past with the present. Through this palette, Hornelle navigates a "Kingdom of Time," where memory fragments have solidified into a world of their own.

In contrast, her abstract works manifest time as physical substance. Using aged letters, vintage books, and historical documents—materials once saturated with human records—Moon deconstructs and layers them into architectural structures. This process is less about manipulating materials and more about the "architecture of time," where the layers, gaps, and eroded surfaces of paper reveal the traces of existence.

Ultimately, Moon’s work converges into a single, profound question: "What do we leave behind?" In her world, while we may eventually disappear, we remain through the unique spaces and stories we build.

Winter Gyeoul Kim graduated from B.F.A. Fine Arts, School of Visual Art(New York, USA) and received her M.F.A. in the Department of Fine Arts at the Korean National University of Arts. In 2018, she held her first solo exhibition Herts at Weekend, and the second solo exhibition As if Singing at Your Own Pace(PS Sarubia, Seoul) was held in 2022. She has participated in several group exhibitions including Memory Beneath the Ego, Fantasy Above The Ego(2023, Seoul National University Museum of Art, Seoul), Only Indelible Good Left(2023, SPACE SO, Seoul), Landscape and Abstraction(2022, Kyobo Art Space, Seoul), I, Etcetera(2020, Hite Collection, Seoul), and One seeing this also thinks that(2019, Artspace 3, Seoul). She has participated in DOOSAN Gallery International Residency - ISCP(2024, New York) and The 14th Resident Artists programme at Seoul Art Space Geumcheon(2023, Seoul).

Hojung Kim (b.1988), on the other hand, explores the painterly and abstract potential of ceramic—a traditional craft medium—treating its curved surfaces like canvases. Through the alchemical interplay of fire, pigment, time, and touch, her works evoke what might be called a tactile vision. At the core of her practice lies the color blue—a hue symbolic of both the sea and sky, transcendence and stillness. Her moon jars and bulbous vessels carry within them the emotional depth and layered memories of time, made visible through repetition and sensitivity of touch.

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.

Abdessemed is a conceptual artist who works in a range of media including drawing, video, photography, performance, and sculpture, and collaborates with creators from many fields, from poetry to dance and architecture. He manipulates familiar materials and images to create provocative and often violent works influenced by his exposure to the Gulf War and its global impact. Drawing on personal, political, and historical narratives, the artist believes that his art “is a confrontation that leads to a break with the norm and is accompanied by extreme anger,” but that his work is simultaneously  “…actually positive. The world is violent – not me".
Abdessemed’s work has been presented at four Venice Biennales (2003, 2007, 2011, 2015), where he received the Benesse Prize in 2007.  He has been the subject of solo exhibitions at major institutions including the Centre Georges Pompidou, the San Francisco Art Institute, MoMA PS1, and the Musée d’art moderne et contemporain in Geneva. His work is held in the permanent collections of the Musée d’art moderne de la Ville de Paris, the Musée national d’art moderne Georges-Pompidou, Paris, the Collection Budi Tek, Shanghai, and the Fondation François Pinault, Venice, among others.

Hyundoo Jung gathers subjective conversational language by accumulating brushworks that show the physicality of the senses that arise from the inside. After graduating from the Department of Painting at Hongik University, the artist earned a master’s degree in the Department of Fine Arts at the Seoul National University of Science & Technology and was a resident artist at the Gyeonggi Creation Centre. His paintings reflect the trajectory and substance of the human body, while also being hospitable and evoking a distinct feeling. He repeats the process of his works by reacting intuitively to the colours and images formed by the improvisational movement and the state and concentration of the paint application on the canvas. The image of the stacked layers on the screen exposes a spectrum of colours and the artist’s sensual judgement. Hyundoo Jung also gradually makes the chroma heavier while adding a sense of density of colour. He treats the entire screen of his painitngs as a result of complete abstraction and sensation, as if it were directed from the surface to another kind of space. 

A water droplet hovers, suspended in the moment just before it falls. Artist Yoo Choong-mok captures this precarious instant, freezing it within space through the materiality of glass. This moment—poised on the brink of vanishing—is never static; it shifts and transforms with the interplay of light, gaze, and movement. Rather than explaining the subject, his work reveals the very moment when our senses are awakened. At the intersection of water droplet, glass, light, space, and the viewer’s own movements, the work emerges as a singular scene. As viewers pass through, they find themselves slowing down, if only for a brief moment.

n the paintings of Son Jung-gi (b. 1991), nature unfolds as a space of overwhelming scale. A single small figure within the vast landscape reveals how minute human existence can be, and yet how profoundly one is able to contemplate within such quietude. In his works, the viewer encounters an expansion of the inner self through the stillness that nature affords.

Jonghwan Lee attempts to extract the vitality of painting from the illusion of paintings medium's physical relationship. For this purpose, he frequently combines pictures from his prior works with new elements. Instead of being recognised for what the image itself represents, they are recognised as a material for paintings. Through the interaction between image and medium, vision and reality, the artist evokes the painting with a subjective vital eye. In addition, while he dissects, penetrates, deconstructs, examines the relationship between pictures produced in paintings and mediums, and investigates the 'vitality of painting.' The process begins with the hypothesis and repeats as 'production-observation-confirmation-hypothesize-resetting'. There are no such things as an independent project; rather, they are interconnected, moving forward and continuously reflecting.

JuAe Park presents works in this exhibition that take the body itself as material. At the intersection of mural labor and artistic practice, the work documents acts of applying paint directly and rolling across the floor as panoramic images.

Instead of waiting for a moment of inspiration, Nature Haan has continued to work, focusing on the landscape and emotions surrounding him. Since majoring in Western Painting at Seoul National University, he has shown a variety of artworks that capture the artist's daily life in their respective fields in different ways. Beginning in 2016, “Receipt Work” is based on receipts, a common material of daily life, and the objective text is gradually erased, leaving just the image of the moment, which is presented to the audience as a daily record. The artist aspires to become an unostentatious artist in the future, who communicates with the audience through works that show his own self.

A key member of first Dada and then Surrealism in Europe in the 1910s and 1920s, Max Ernst used a variety of mediums—painting, collage, printmaking, sculpture, and various unconventional drawing methods—to give visual form to both personal memory and collective myth. By combining illusionistic technique with a cut-and-paste logic, he made the incredible believable, expressing disjunctions of the mind and shocks of societal upheavals with unsettling clarity.

Lee Hyunho repeatedly observes the landscapes he encounters in his immediate surroundings. His work moves beyond simple documentation, focusing instead on how places and subjects are shaped and reassembled on the canvas. Familiar everyday scenes pass through the artist’s process of selection and arrangement, gradually forming a finished painting.

Using traditional Korean painting materials and techniques, he pays close attention to describing his subjects. However, his paintings are not straightforward reproductions of what he sees. Through sustained observation, he refines and adjusts forms and spatial relationships, creating images that resemble the original landscape while remaining subtly transformed.

Since being selected as an OCI Museum of Art Young Creative artist in 2013, he has continued to explore everyday landscapes through this ongoing practice.

Kim Nampyo creates realistic yet fantastical artworks. He has presented works featuring tigers emerging from the sea and zebras appearing in front of the Independence Gate, showcasing his imaginative compositions. In recent years, he has focused on realistic landscape works that prioritize on-site experiences, depicting the seas of Jeju and the Himalayan Everest mountain.
Kim Nampyo graduated from the Department of Western Painting at Seoul National University's College of Fine Arts with a B.F.A. He later received his M.F.A. from the graduate school. He has participated in over 20 solo exhibitions and more than 60 group exhibitions domestically and internationally, including "Drawing Jeju Island" (Gyoboa Art Space, 2022), "Instant Landscape – Goosebumps" (Gana Art Center, 2017), "Instant Landscape" (Gana Art New York, 2009), and "Instant Landscape" (Gallery Hyundai - Window Gallery, 2007). He has also participated in international art fairs such as Abu Dhabi (UAE), Art Central (Hong Kong), and KIAF (Seoul). He has won the Grand Prize at the National University Art Exhibition and the Gold Prize at the Creative Arts Association competition in South Korea. His works are held in collections at institutions such as the Seoul Museum of Art, the National Museum of Modern and Contemporary Art, Korea, the Seongnam Cultural Foundation, and the Suwon Art Museum.

Yihyun Kim draws about the futility of "wish." In her paintings, the theme is revealed in intense colors, an image of the deity with the motif of "Tanghwa," and the back of the wreath. The blindness of someone's act of continuing prayers even though they guess that their prayers will not be fulfilled indicates the back of what we desperately wanted, what we wanted to avoid the most. She earned a bachelor's degree from Hongik University's Department of Metal Art & Design and Oriental Painting. Currently, she is attending the Graduate School of Oriental Painting at Hongik University.

Jinjoo Ku is a painter who captures the recurring patterns of nature and the shifting processes of emotion on canvas, exploring through two bodies of work the point at which phenomena of vastly different scales converge on a single underlying principle.

Slow Diffusion draws on the chemistry of recrystallization, in which pure crystals are gradually separated from an impure substance, extending this as a metaphor for the purification of emotion. A longtime observer of the sea, Ku turns toward the moments when cold and fearful feelings begin to seep in, rendering through stillness and a recalibration of inner temperature the crystallization that unfolds within. Fractus expands this gaze to the macroscopic structures of nature, translating the fractal self-similarity found in the branching of trees, the coursing of rivers, the layered edges of clouds and the contours of mountain ranges into a metaphor for the complex networks of life and human connection, as the artist attends to the way individual moments weave tightly together to complete a single coherent narrative.

Running through both series is the belief that instability and stability, disorder and order, ultimately complete each other within a single cycle. Through painting, Ku reveals that the crystallization of emotion and the fractals of nature, though seemingly operating at entirely different scales, are governed by the same principle, inviting viewers to reflect on the repetitions and connections woven through their own lives.

Ursula Palla was born 1961 and grew up in Chur, today she lives and works in Zürich. In her work she interlinks video and room sculptures and works with sensitive materials such as moulded sugar, coal dust or snow. The fragility of nature and wild life is the focus in many works. On a first level an enchanting aesthetic make these accessible. Yet all works are based on comprehensive research, and only its knowledge completely reveals the depth and urgency of the work. The video and room installations by Ursula Palla are poetic and at the same time show up voids that often leave behind a stale feeling and remind us of our responsibility towards nature and environment. This makes the artist’s work highly topical.
While in Ursula Pallas’ early work the accent was on the human being as a figure between appearance and disappearance, after 2000 the plant and animal world came into focus as motifs. The artificiality of nature crystallises ever more clearly as the central theme of the multimedia oeuvre.


Edgar Plans (Madrid, 1977), categorized as the most popular Spanish contemporary artist,
grew up and is now based with his family in the northern Spanish town of Gijón. After
earning a degree in Art History from the University of Oviedo, Plans started to participate in
small exhibitions in local galleries. As of today, his works have been exhibited in Museums
such as the MOMA Museum in Moscow Russia, the Xiao Museum in Rizhao, China and the
S2A Museum in Seoul, South Korea.
Plans oil painting pushes boundaries and combines traditional techniques with modern
perspectives. He experiments with diverse styles, from realism to expressionism, creating
captivating narratives and evoking deep emotions. Through vivid colors, dynamic
compositions and innovative approaches he challenges conventions and invites the viewer
to engage in thought-provoking dialogues about identity, society and the human experience.

Wichuda Khuntijit (b. 1999) is a rising voice in the new generation of Thai female artists, known for her quiet strength and unwavering dedication to her craft. She holds a Bachelor’s degree in Visual Arts from the Faculty of Fine Arts.

The Empathy Box Z

Autonomic Drugs 980-1250(9pieces)

Autonomic Drugs 1250_B(4pieces)

Autonomic Drugs 1250_Y(16pieces)

Autonomic Drugs 1250_R(16pieces)

Unrealistic space_A word of remark(An added words)

Unrealistic space_Little star passage

warmth

Each other

Aside

Ruminating (반추)

When I Sank Down

at the cliff

We in White Memory

Contemplation

Hornelle The Key

Architecture of Time 2026-7

Hornelle – Mirror

Hornelle – plate

Hornelle The Bottle — Attic

Hornelle The Boxes — Attic.

Architecture of Time 2026-5

Architecture of Time 2026-4

Architecture of Time 2026-1

Hornelle The Chocolate Box

Hornelle The Cake

Architecture of Time 2026-2

Hornelle The Frame

Hornelle The Glass

Hornelle The Bear

Hornelle The Book — Attic

Architecture of Time 2026-3

Architecture of Time 2026-6

Hornelle The Reagent Bottle

Hornelle Chessboard

Marcato

Tiptoe

Blues in Summer

Shhh in Exercise

Blue poles

Newborns at Night

Salad Delivery Sevice

FLOW Blue IV-3

Caputured Landscape Blue-I

Caputured Landscape Blue-III

Caputured Landscape Blue-II

Blue Moon Jar XX VI

Amaran (Warning) II

Amaran (Warning) I

Amaran (Warning) III

Forbidden Colours

Hibou

20.08.21-08.30

얼굴로 그린 그림 1

Untitled

얼굴로 그린 그림5

왼쪽으로-얼굴을 던지는 사람 1

빛나는 얼굴

돌머리

오른쪽으로-얼굴을 던지는 사람 1

19.06.27-20.02.19

Face of the Sun and Moon

19.08.10-12.19

토끼잡는 사람

Forest and Body_Mass

19.10.30-20.01.02

2018-19.12.06

A Paradoxical Talk 1-2 

Birds, Trees, and

얼굴로 그린 그림 2

반짝 반짝

풍경

19.10.30-12.19

20.10.22-21.02.03

새나무

I Am Not A Plastic Bag

Formation - Recollection_Belief 1-21

Formation - Recollection_Belief 2

Formation - Recollection_unrestraint 3-4

Formation - Recollection_unrestraint M 1

Formation - Recollection_unrestraint 2-5

Formation - Recollection_unrestraint 2-6

Formation - Recollection_unrestraint 3-1

Formation - Recollection_moderation 1-16

Formation - Recollection_moderation 2-9

Formation - Recollection_unrestraint M 4

Formation - Recollection_unrestraint M 3

Formation - Recollection_unrestraint M 2

Formation - Recollection 4-39

Formation - Recollection 4-40

Formation - Circle 7

Formation - Circle 9

Formation - Circle 10

Walking Alone

Beyond Uncertainty

The Way of Silence

Toward Silence

A Forest that Asks Nothing

A Journey Into Uncertainty

Through the Forest

Paths

Winter Forest

To the Distant Wood

David

Route-crash

Wipe #1

Twist tie2

Liquid

Venus

Window2020 record

네이버 검수용 더미

Formation

Twist tie 

Impregnating Me

Rolling in a Paint Can

Seoul Sadang police station

When I think the grandmother’s house 

The night of fish market

Seeing the flower pot

Red rest

Sun set & tree at Han River

Sadang Station

My personal cigarette

Spreading sun set

Special sunny day

Pine Tree

Empty seats at Cafe

Sunrise A.P.T

Pochoir

Facing Each Other

The Cold Tree

The Yellow Tree

Beside the Sidewalk

PM5 #2

Instant Landscape - Aewol Sea(s)#1

Instant Landscape - Aewol Sea(s)#2

PM5 #1

PM5 #6

Pray 2

Pray 1

Those who look down at

Empty Garden 3

Herb and Weeds 105

Herb and Weeds 130

Dragon ball

Rayito on the road

Skatergirl

Glaciation 2.0

Making a mural

Transition

The Same

The Night the Stone Floated

Moonless Night

In Time

Trust Yourself

The Night The Roots Didn't Hold

Brave

The Night the Cloud Hung Low

It came, It went

All Within

Another Piece

Resting Clouds

Tomorrow Unseen

Nothing Stays Above Us Forever

The Night the Curtain Opened