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.

Hong Jung-Ouk is a Seoul-based artist and Associate Professor of Painting at Hong-ik University. Working at the intersection of painting, sculpture, and installation, his practice persistently interrogates the ontological conditions of the painted surface—questioning why a canvas must always be rectangular, and why it must hang on a wall.

Rather than abandoning painting for three-dimensional work, Hong expands its logic outward: frames become polygons and circles, cloth is removed to expose open structures, and glass, acrylic, wire, and light are combined to create works that occupy the threshold between painting and site-specific installation. His ongoing series—INFILL, cacophony, ENTITY, and ulterior—reflect what he calls "evolution": each work finding its most optimized form through iterative material and spatial experiment.

Hong holds a Ph.D. in Technology Art from Chung-Ang University, an M.F.A. from the Slade School of Fine Art, UCL (London), and degrees from Hong-ik University, Seoul.

Heejoon Lee creates abstract paintings from images of the natural world. In 2012, he earned a bachelor's degree in Fine Arts and Sculpture from Hongik University, and a master's degree in Fine Art from the University of Glasgow School of Art in 2014. In this way, the artist collects, edits, and brushes the accumulated experiences and daily images obtained from travels from close surrounding to distinct locations, and incorporated them into geometric shapes. The composed instant images add the texture and time of the accumulated paint to generate a new space on the canvas. In addition to the photo collage and thick matière geometric shapes in <The Tourist> in 2020, the artist shifts his focus from minor objects to the surrounding landscape and extends the visual experience beyond abstract painting to the experience of space in which architecture and painting coexist.

I am constantly in search of people and places that bring me a sense of stability. In life, I am always confronted with certain thresholds where I long for steadiness. At those boundaries, I find myself seeking environments and situations that help me maintain a calm emotional state. Most of these are familiar to me: my family, my home, my room, and the surroundings that have held me for a long time. When I ask myself where the process of being filled and forming a sense of self first began, I cannot leave out home and family. I hold close to my heart the softness and warmth of these things, and the precious moments at home where I can express my feelings honestly. In doing so, I try to preserve a quiet emotional balance. It was only natural, then, that the act of painting and the choice of what to paint began with what was closest to me. As I step into the home and room marked by my own traces, I find myself covering over the unstable emotions I could not express outside, and recovering a sense of calm and peace. I capture in my paintings the blue wallpaper close to my body, the scattered blue clothes, the blue blankets and pillows—objects that bear the touch of my hand. Along with them, I try to hold within the painting the tactile sensations of these things against the skin, as well as the emotions of those moments: the comfort, warmth, and tenderness that arise from familiarity.

The feeling of fur brushing between my toes,
the rush of air when my father lifts the blanket high and lets it fall while I am lying down,
the snug warmth of tucking the blanket tightly around my body,
the feeling of touching the cool temperature that has settled into the pillow because of the wind outside,
the soft texture of an old blanket worn thin with holes,
a pair of socks turned inside out on the floor,
the faint sunlight slipping through the blinds,
the sunlight and brightness that reach me as I lie down,
the moon visible through the window before sleep...

I gather these emotions and sensations from my own place and wrap them together, trying to paint their atmosphere and energy. In the process of expression, the act of applying materials softly onto hanji, or tearing its surface to reveal its delicate fibres, has itself become a process through which I find emotional calm. Through the repeated gestures of laying down thick layers of paint and scraping them away, or raising the surface of the hanji, I attempt to convey indirectly a kind of fluffy, tender warmth even through the material surface itself.
Ultimately, I hope that a painting, shaped by the attitude revealed in both the subject I look at and the process of making, can become a bearer of warmth—something held close at one’s side—and that the scope of this warmth may gradually expand.

Blake Daniels, born in 1990 in Cincinnati, Ohio, is an artist known for his unique blend of figurative and abstract art. Working between New York and Johannesburg, Daniels has a rich artistic heritage and developed his passion for art early on. With a Master of Fine Arts from the University of the Witwatersrand and a Bachelor of Fine Arts from the School of the Art Institute of Chicago, where he received the Edward L. Ryerson Fellowship, Daniels employs various techniques, including traditional oil painting and mixed media. His works explore themes of intimacy and human connection, portraying intricate interpersonal relationships set against mystical backdrops, creating an intimate, enchanting atmosphere for the audience.

Attempts to interpret the image of flowers as a visual language of emotion, exploring the theme of “recording emotions through flowers.”

Ahn Soo-in’s work reflects sensations long experienced as a fragile human presence standing before nature—an existence governed by an exquisitely intricate cycle. Confronted with nature as a source of wonder and longing, the raw sense of inadequacy and quiet shame, along with the persistent desire to draw closer despite them, are carefully gathered and held within the pictorial space.

Leaving behind only the visible traces of nature, the artist reconstructs colour and texture into forms reminiscent of paper folding or modelling clay, revealing a tentative yearning to collect and preserve nature itself. This act of composition is not an attempt to faithfully replicate a complete form, but rather a metaphorical reflection on the posture of beings who live perpetually in states of incompletion—an exploration of longing directed toward wholeness.

Gus Monday (b. 2000) studied a Foundation in Art & Design at the City & Guilds of London Art School in 2019, and currently studying painting for a master’s degree at Royal College of Art (RCA) in London. He grew up within a Southern African context and he thinks that to large an extent it shaped the way that he is socially and culturally aware, especially moving between a developing nation and this 1st world country. His works are representations of spaces utilising coded narratives and symbols, some observational whilst others autobiographical. He is working with beyond the realm of the personal, toward spaces with more social significance.
In addition, several group exhibitions are planned for 2024 in several countries, including Korea, the UK and Spain.

Artist JaeBum Joo is a leading figure in the realm of pixel art in South Korea, garnering international acclaim for his distinctive vision. He has collaborated with an array of prestigious global brands, including Google, Starbucks, Nexon, Gentle Monster, Adobe, Uniqlo, Hypebeast, and entertainment giants such as SM, YG, and JYP. Through these partnerships, he has firmly established himself as a singular force in the world of illustration, all while pursuing his personal artistic endeavours with unwavering curiosity and innovation.

His work is deeply rooted in personal experience and perception. Having discovered his artistic identity through the 8-bit graphics of the cartoons and animations he grew up with, he has seamlessly woven nostalgia with contemporary technology to cultivate a style uniquely his own. For him, pixels are not merely a nod to retro aesthetics; they serve as a bridge between digital interfaces—such as animation and gaming—and the language of traditional painting, unlocking new dimensions of expression. In his hands, pixels transcend their conventional role as the smallest unit of a screen, becoming colour, form, and a sensory experience in their own right.

Bang Soyun's art begins with disrupting the hierarchy between the digital and physical worlds. Considering that the things existing in the digital world and the states they form are generally defined by the term 'virtual reality,' it may seem as though the physical world holds superiority in terms of reality. However, as a digital native, Bang freely navigates between the digital and physical worlds, accepting experiences in both realms as equivalent realities. Various experiences intertwine and influence each other, constantly shaping the artist's identity.

Focusing on sensorial experiences where the distinction between reality and virtuality fades away, Bang creates virtual digital entities and brings them into physical reality through her work. Initially, she implemented simple forms of animals, plants, or objects, but recently, she has been exploring concrete human figures as sensory receptor perceiving the world.

Her works exist in various material or immaterial forms such as paintings, videos, and even augmented reality (AR). Through 3D modeling software, she visualizes different independent narratives and reproduces them in various ways into multiple forms. In her painting, the most crucial factor is the physical properties of materials and the profound experience of her body dealing with those materials. In 3D programs, Bang imitates everyday reality while enhancing an alienating sensation by distorting and rearranging the properties of material experienced in physical reality. During the process of translating these digitally generated images into paintings, she employs optimized materials and techniques to maximize surrealism, rendering them as highly tangible objects. Throughout this process, the artist sensitively senses and observes her own body's interaction with the materials, which makes herself undergo continuous evolution.

When reproducing these digitally generated images in paintings, she uses optimized materials and techniques to implement unreal characteristics into physical sensations and forms, delicately sensing and observing the body handling the materials throughout the process.

Jinhyung Lee begins with images gathered from the internet, books, and everyday life, yet sets aside their content and narrative to focus instead on the conditions of perception. Nuances of color, trembling contours, density, and texture do not seek to explain the image, but reveal the state that lingers in the act of seeing. In his work, the image is not an object of representation; it exists as a residue of sensation—stripped of meaning and transformed into the materiality of painting.

Shih Yung Chun is renowned for his diverse range of artistic mediums, which include painting, sculpture, photography, literature, and installation art, all of which are deeply anchored in his investigation of the ordinary and the ceremonial in human behavior. His work begins with the hands-on creation of dolls and minor objects that appear in his paintings. These porcelain dolls and objects, which are the result of a labor-intensive process, are then depicted on canvas in various compositions and stories or transformed into videos. The ceramic objects created in this way themselves become installation pieces, either placed on shelves or hung in plastic bags. Shin’s art is concerned with subtleties in everyday life, particularly the disordered and unexpected details. Utilizing a surrealist style, he dissects the intricate nature of time in his work. He adeptly merges two- and three-dimensional elements, creating a perplexing space that transcends traditional dimensions. His unique methods involving texturing, layering, and surface modification add layers of depth that transcend the tangible aspects of his art. It is like a game with all the prior rules eliminated. In his dual “looking-away”, we find people fleeing the world or take a motionless trip to indulged themselves in another quotidian world, even for merely a moment.

Shih Yung Chun (b.1978) lives and works in Taipei, Taiwan. He received his B.F.A. in the Department of Western Fine Arts from the National Taiwan University of Arts. He has held solo exhibitions at HiArt space (2021, Shanghai), YIRI ARTS (2021, Taipei), Hive Center for Contemporary Art (2019, Beijing), 798 Line-Gallery (2016, 2012, Beijing), Art Experience Gallery (2015, Hong Kong), and more. He has also participated in group exhibitions at KICHE (2023, Seoul), Long Museum West Bund (2022, Shanghai), Hive Center for Contemporary Art (2021, Beijing), FreeS Art Space (2018, Taipei), YIRI ARTS (2018, Taipei), Long Museum Pudong (2013, Shanghai), and more.

Lee Bae focuses on the expressive potential of charcoal as a medium. Over the course of three decades, Lee has dedicated himself to creating a diverse range of iterations of Korean painting through his use of charcoal and abstract forms that are self-sufficient and rich in spiritual and energetic qualities. By exploring immanent notions such as yielding, respiring, and circulation, which are embodied by charcoal as a material, Lee's work resonates with themes of life and death, absence and presence, light and shadow, form, and emptiness. Lee's oeuvre spans a wide range of mediums and forms, from drawings to canvas-based works, as well as installations, with each new work serving to expand upon his unique vision and approach. Lee’s works have been featured at museums and institutions worldwide including: Phi Foundation, Montreal, Canada; Indang Museum, Daegu; Wilmotte Foundation, Venice; Fondation Maeght, Saint-Paul de Vence; Musée des Beaux-Arts, Vannes; and Musée Guimet, Paris. Among many others, Lee’s work is in the permanent collections of museums including the National Museum of Contemporary Art, Gwacheon; Seoul Museum of Art, Seoul; Leeum-Samsung Museum of Art, Seoul; Fondation Maeght, Saint-Paul de Vence; Musée Guimet, Paris; Baruj Foundation, Barcelona, and Privada Allegro Foundation, Madrid.

1996 Born in Fukuoka.
Influenced by anime and manga culture during boyhood. In 2017, he started working as an illustrator based in Fukuoka. He creates and presents his works in digital and analog formats. The female with characteristic ennui expressions are a projection of the artist's own inner self.

For Hyunmo Yang, drawing is an observational attempt of self-reflection that leads to a process of balancing. Fragments of daily experiences and emotions manifest as oscillating lines or dense shadowy spaces-proving the interstices of Yang’s painting and existence.

Maverick Abac's practice explores painting and collages on various media as a reflection of his consciousness and upbringing. Navigating the realm of memory, his works are known best for their pop surrealist meditations of our individual and collective psychological experiences.

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.

Rolling Oge

Lost Bluesky

Untitled (20230712-1)

Untitled (20230712-2)

Cacophony

INFILL

Moreish

Floating Lane

Utopia

Machine's Score

Orchids and Haze

Beyond the Horizon of a Black Hole

The Orbit of a Red Comet

hug #40

home - jujube tree

home - camellia tree

hug #37 - bedroom

hug #41

home - 이불

home - curtain

hug #36

hug #35

home - persimmon tree

hug #38

home - carpet

home #11

hug #39

Small Street

Cave at Pope Lick Creek

Self-portrait (Apoptotic Corpus)

No01

Composition pattern No02

Composition No19

Trojam Horse X

Bloom12

No Tears Left 5cm 2

Blues

오르는 모습들 Ascending Forms

The buds flipped inside out and thrust upward

The Cross-Section of a Mass

The Form of a Mountain

Making the Mountains_2

Shadow and Shadow

The Reflected Shape_2

The Height of Mass

A Heart in Orange

It’s Soaking in

The Vermilion Valley

The Shadow Mark

The Reflected Shape

The Form of a Mountain_2

있었던 자리 Where Forms Once Stood

둥글납작하게 서 있는 Standing Rounded-Flat Form

Institutional Performance, V&A

Institutional Performance, Tate

Small Yet Great Cuteness, Inspired by AzacielXD

Warmly Remembered Moments

The Same ‘Moha’ 1

The Same ‘Moha’ 2

The Same ‘Moha’ 3

The Grand Little Stone 1

The Grand Little Stone 2

The Grand Little Stone 3

The Grand Little Stone 4

Dark Blue Sea

Scattered Memories 1

Scattered Memories 2

Scattered Memories 3

Scattered Memories 4

Scattered Memories 5

Seoulvivor

Scattered Memories 7

Scattered Memories 8

Scattered Memories 9

Scattered Memories 11

Scattered Memories 10

Scattered Memories 6

City Hall

Seok Chon Lake

Olympic

Facing the Pixel Portraits

Warmth

Earth Pie

PIxel SK8 Stool

A Flow of Countless Small Movements Inspired by KDS

Darkness Hunts Me, #2

Darkness Hunts Me, #3

Darkness Hunts Me, #4

Darkness Hunts Me, #5

Sun Taunt You, Close Your Weary Eyes

Darkness Hunts Me, #1

untitled(0422)

untitled(0505)

Paint3

Paint2

Paint1

A Scribble

Palette

untitled(0151)

untitled(0506)

untitled(1157)

untitled(1314)

untitled(0129)

untitled(0909)

Headless

Dreams Burn the Dawn

High Heel Fitting Specialist

Puppets in the Closet

Obstacle training.A-2

Pool Game

Toy Packaging.A - obstacle training

Acrylic Medium

Brushstroke Sculpture

Issu du feu K-21

Brushstroke-N7

Brushstroke-N10

Untitled

K250812

K250201

K250723

K211220

K220000

K230507

K220624

K211222

Short Truth

Flexible Forms 10.10

Flexible Forms 10.19

Flexible Forms 08.29

Flexible Forms 08.25

Flexible Forms 08.11

Flexible Forms 08.19

Flexible Forms 07.05

Flexible Forms 05.25

Flexible Forms 05.10

Flexible Forms 04.27

Flexible Forms 04.25

Flexible Forms 04.21

Flexible Forms 04.01

Flexible Forms 03.25

Flexible Forms 03.11

Flexible Forms 03.05

Flexible Forms 02.03

Flexible Forms 01.03

Flexible Forms 01.19

Flexible Forms 01.17

Flexible Forms 01.15

Flexible Forms 12.19

Flexible Forms 12.27

Flexible Forms 07.02

Flexible Forms 01.05

Flexible Forms 05.01

Flexible Forms 11.12

Flexible Forms 11.04

Flexible Forms 08.08

Flexible Forms 04.18

Flexible Forms 12.03

Flexible Forms 10.13

Flexible Forms 10.18

Flexible Forms 11.19

Flexible Forms 12.05

Parallel Greens

Sublime Condensation

Soft Figures

People who try to balance without much strength 1

HER HISTORY

CHOICE

Our 4

Our 3

Our 2

Our 1

People who try to balance without much strength 3

People who try to balance without much strength 4

forest stage II

Animal house - The swan mask

Featured Artists on Artue