LEE Jeongbae (b. 1974) creates works that mirror the image of nature among the city's landscapes, which are privatized and tailored to conform to human needs and desires. Prior to this, the artist experimented with various mediums, including painting, photography, video, and installation. In 2016, LEE began to take an interest in representing deteriorating landscapes that had gradually lost all original meaning through the encroachment of capitalism. These segmented images, which become objets, each act as a landscape that portrays various scenes from nature. LEE Jeongbae's works, which examine the daily life of the city, capture fragments of mountains, rivers, and the sky that peer through the cityscape. These images are separated by geometric forms and expressed through the use of artificial materials such as FRP and aluminum panels. Nature, which has been torn apart by capitalism and materiality, is recomposed by LEE into atypical forms and painted over with color. Completed through a delicate process of painting the surface of the sculpture hundreds of times, these works represent new abstract landscapes expressed through LEE's perspective.
 
Since LEE Jeongbae's first solo exhibition at Munhwa Ilbo Gallery (Seoul, Korea) in 2005, he has shown at Artside Gallery (Seoul, Korea); Window Gallery at Gallery Hyundai (Seoul, Korea); 16 Bungee at Gallery Hyundai (Seoul, Korea); Seodaemun Prison History Hall (Seoul, Korea); Pibi Gallery (Seoul, Korea); Goodspace Gallery (Seoul, Korea); and the Seoul Metropolitan Government (Seoul, Korea). LEE has also participated in various group exhibitions at the Busan Museum of Art (Busan, Korea); Korean Cultural Center in Brussels (Brussels, Belgium); Buk-Seoul Museum of Art (Seoul, Korea); Seoul Olympic Museum of Art (Seoul, Korea); Arario Gallery (Seoul, Korea); CAN Foundation (Seoul, Korea); Whanki Museum (Seoul, Korea), and more. In 2011, LEE was awarded the "JoongAng Fine Arts Prize," organized by the Seoul Arts Center (Seoul, Korea). His works are included in many significant collections such as MMCA, National Museum of Modern and Contemporary Art (Seoul, Korea); Seoul Museum of Art (Seoul, Korea); Arario Museum (Seoul, Korea); Joongang Ilbo (Seoul, Korea); CAN Foundation (Seoul, Korea); Whanki Museum (Seoul, Korea); and ART OMI Collection (New York, USA).

Wonkyo Choi explores the intersections where opposing or contrasting realms meet, overlap, or collide. Wonkyo’s work focuses on dissolving and reconstructing these boundaries, challenging the fixed notions of separation. Recently, the artist’s practice has turned toward the nature of images produced within digital environments. Also, the artist investigates their depth, expansiveness, weight, and spatial qualities—elements often overlooked in purely data-driven forms. By transforming these immaterial, digitally-generated images into physical and tactile presences, Wonkyo attempts to give form to the intangible, bridging the virtual and the real. the artist’s work not only questions the ontology of contemporary digital imagery but also proposes new ways of sensing and experiencing the image beyond the screen.


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.’

SONG is a graffiti artist from Changhua, Taiwan, and a core member of the street art collective FLOW DOWN. His work fuses the visual language of graffiti with otaku subculture, developing a unique form of “Manga Graffiti” that exists between wildness and vulnerability. Through this lens, he constructs emotionally charged character universes that reflect the inner conflicts and desires of contemporary youth navigating life between urban chaos and personal struggle. His representative series include Takumashii Syonen, Bitten Boy, Eyes, and Houses.

Jan Kaláb (b. 1978, Prague, Czech Republic) is a contemporary Czech artist whose practice spans painting, sculpture, and public art. Drawing on his background in architecture, sculpture, and fine arts, he creates vibrant abstract compositions that explore geometry, color, movement, and spatial perception. His work has been exhibited internationally in Europe, Asia, North America, and South America through solo and group exhibitions at galleries, museums, and art institutions.

AHN Jisan (b.1979) works with traditional canvas painting, a relatively marginalized medium in contemporary art. His works depict reality, but one that is strangely misaligned or distorted. The depiction of obscure images adds visual tension, and these subjects, which have slipped out from reality, project an even greater uneasiness that brings out their innate anxiety. Upon confronting his work, there is an instant sense of discomfort. The emotional tension and gloominess are amplified by accentuating the material properties and mounting thick, expressive layers of paint onto the canvas. AHN's intention to express the subject in its raw visual state brings out the absorbed emotions created and embedded within it. These improvised animalistic expressions are possible through a thorough study and modeling process. The substantiality of the objects is neither constructed nor reconstructed but is, in fact, a realization of experienced, felt, and penetrated emotions. Rather than portraying the subject of conceptual representation through obvious imagery, the artist expresses the reality and emotional experience of the subject through intuition and empathy.

 

AHN Jisan was born in Busan in 1979. He received his BFA in Fine Art at Korea National University of Arts in 2006 and MFA in Painting at Frank Mohr Institute, Groningen, Netherlands in 2011. He has held solo exhibitions at various institutions including Galerie Bart (Amsterdam, Netherlands, 2023; 2020; 2015; 2014), ARARIO GALLERY SEOUL (Seoul, Korea, 2024; 2023; 2016), Zaha Museum (Seoul, Korea, 2017), Hapjungjigu (Seoul, Korea, 2016), and more. He has participated in group exhibitions at ARARIO GALLERY SEOUL (Seoul, Korea, 2024; 2023; 2016), Gyeonggi Museum of Modern Art (Ansan, Korea, 2020; 2017), National Museum of Modern and Contemporary Art (Cheongju, Korea, 2020), Daegu Art Museum (Daegu, Korea, 2017), Jeonbuk Museum of Art (Wanju, Korea, 2016), Arko Art Center (Seoul, Korea, 2016), and more. In 2013, he was the artist-in-residence at Rijksakademie Van Beeldende Kunsten (Amsterdam, Netherlands). In 2014, AHN won the Buning Brongers Prijzen (Amsterdam, Netherlands). His works are collected by numerous institutions including National Museum of Modern and Contemporary Art’s Art Bank, Seoul Museum of Art,  Gyeonggi Museum of Modern Art, ARARIO MUSEUM.

JEJn usually attempts to depict incomplete human nature through paintings. People today reject their underlying sentiments of fear, incompleteness, and weakness to naturally avoid them. However, the fragmentary phenomena that result from these emotions are also believed to be part of human nature, and the artist interprets and conveys these inconvenience things through his individual sense of humour and cartooning technique. He asks the audience what would happen if the heaviness and hardness of the facts that people are confronting were presented to them as a hilarious black comedy. 

Disorn Duangdao (lives and works in Kanchanaburi, Thailand) focuses his interest on the situations that arise from his surroundings, including the use of raw materials derived from the experience of overlapping and parallel contexts of ambiguity and reality. His practice involves a combination of constructing sets of symbolic language within objects and finding meaning within twisted structures. Disorn’s aesthetic opens up a diverse dialogue ranging from nature, society, and politics, to history, all under the realm of an exchange area for reform and reconstruction.

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).

Peter Ravn explores the existential conditions of being human in contemporary society. Through the loss of identity, control, and certainty, he exposes the latent tension that defines modern existence. His figures appear simultaneously as agents and as victims, inhabiting a liminal state between action and surrender. Rather than offering a linear narrative, Ravn constructs staged scenes and cinematic mise-en-scènes that invite the viewer’s interpretation. His visual language, informed by his background in graphic design and film, evokes theatrical moments of conflict and reflection—an aesthetic inquiry into the psychological and social dimensions of anxiety.

Floating Selves, a Solidarity of Resonance
I do not trust the notion of a fixed self. Although the self is often defined in psychology as a unique and coherent identity, such a concept is fundamentally insufficient to capture the complexity and fluidity of the human inner world. Within the rapidly shifting currents of contemporary society, modern identity is continuously dismantled and dispersed, leaving us to drift through the world without a clear outline. In this process, fragile emotions are frequently fragmented, and coherent temporality and narrative lose their boundaries, often becoming powerless. Thus, the core and backdrop of my work is the visualization of the process through which incomplete beings of our time gather their own fragments—a “psychological safe zone.”
This psychological safe zone is not a simple refuge where all pain and conflict are resolved, nor a complete utopia. Rather, it is a place where beings that remain incomplete choose confrontation over avoidance, flow over closure, and bear their own rhythms as they pause, exploring transformation and recovery.

This space is realized as an unfamiliar and heterogeneous landscape inhabited primarily by anomalous life forms. These settings are not actual places but multidimensional spaces onto which inner sensations are projected—complex structures in which memory and imagination, fear and desire, are interwoven. The beings that appear possess organic, hybrid forms and identities that are never fixed. Figures wearing animal masks, unfamiliar beasts, and winged mammals all symbolize the fragmentation and reassembly of the self, actively driving their own narratives. Rather than isolating and defending themselves from the external world, they form spaces as open fields of relation where emotions and existence connect. Within these spaces, the self is once again experimented with, and resonance aligns itself with reality in solidarity.

The beings that appear in the work carry no fixed meanings. They are less identities than possibilities of identity, or states that the artist senses within lived reality. Through these scenes, the viewer is invited not to find comfort or definitive meaning, but to enter an unstable condition reliant on sensation. Selves pass through intermediate points toward a more complete form of being. This is not a process of healing but of individuation—a provisional space that allows one to form personal boundaries through resonance with the surrounding world. This space does not seek to establish a private order, but to explore the very possibility of order itself. It is always precarious. Yet it is precisely within this precarity that the hope emerges that the self may finally be contemplated.
“How far did the boundary extend before complete collapse, and in what form might it be rebuilt?”
The work offers no clear answers. Instead, within landscapes that hold this question, beings continue to move and transform. I remain within this space.

His work focuses on ceramic forms created through wheel throwing, particularly moon jars and their contemporary variations. He explores the tension between perfection and imperfection, reinterpreting traditional Korean pottery forms through a modern sculptural perspective.


 Artist MAWZ has been drawn to Disney animation films and cartoons since childhood. While studying Fine Arts at Chung-ang University, the artist created a character to represent himself and painted the world through its eyes. The artist’s artistic stage name, MAWZ, is named after the character from his early work. His birth dream of sharks and the movie <JAWS> inspired its naming. 

 

The artist's work explores surrealism and symbolism, conveying messages of reality's absurdity, personal concerns, social situations, and aspirations. His work conveys social, cultural, and personal concerns through the use of symbolic imagery, featuring poetic symbolism and animated expressions. The symbols used include envelopes, ribbons, and eagles, and their meanings can be interpreted in different ways based on the viewer's perspective. His recent work revolves around exploring the absurdity of reality and social issues. He continuously experiments with new materials and conducts thorough research on the subject's background or history to add more depth to his work. 

 

The artist’s defining characteristic is his use of Matière, which is conveyed through simple and implicit expressions with cheerful colors and thick brushstrokes of paint. Before starting any artwork, the artist meticulously documents the content or stories he intends to convey. He draws inspiration and motivation from his imagination, surroundings, and personal experiences to depict his unique perspective in his work. His recent work emphasizes background and three-dimensional elements over characters and icons from his earlier pieces, adding depth and highlighting the message. His animated style and expressions capture deep concerns across diverse subjects and allow for varied interpretations among viewers.

 

The artist is experimenting with various mediums to refine and develop his style and expressed a desire to expand into creating more three-dimensional work, in addition to his current focus on two-dimensional paintings. The artist previously collaborated with various brands, including McDonald's, Volkswagen, Cass, and SM Entertainment, to communicate with the public. MAWZ uses the process of creating art as a means to illustrate his personal exploration of the future unknown. He seeks to share his journey with the audience to spread positive energy and convey optimistic promises of life. 

Sakhai received her Bachelor’s in Art History and Fine Arts from Hofstra University, and currently serves on the advisory board for the College of Liberal Arts and Sciences. She received her Masters in Fine Arts from the Academy of Art University and has studied internationally including d’Arts Plastique I Disseny (LLOTJA) in Spain. Additionally, she has taught art at the University of California, Berkeley. Her paintings are exhibited in galleries around the world including Tokyo, Ibiza, Miami, Carmel-By-The-Sea, Berkshires, Dallas, and New York City. Her art remains in both private and public collections including the Montefiore Einstein Medical Center, The Fairmont Hotel in San Francisco, and Kamakura Park in Japan. Sakhai's work has been exhibited in Universities including Stanford, Michigan Medicine, The Academy of Art, Hofstra, and Mary Hardin-Baylor. She recently published her first book titled ‘Awakening’, a compilation of 200 of her paintings.

Summer Kang continues to explore emotions she wishes to remember by translating them into characters and narratives. Working across various mediums such as illustration, painting, webtoons, and animation, she gives visual form to feelings. She is also the creator of RAINBOW, a Kakao Webtoon series that tells a love story between a blue-suited hero and an ordinary girl.

Kang pays particular attention to the qualities of water—its fluidity and sensitive responsiveness. Just as a gentle ripple grows into a wave with a passing breeze, emotions too begin with subtle movements and gradually expand. Water absorbs the colors of its surroundings, freezes in cold, and cools in heat; in the same way, emotions continuously shift depending on the environment and situation. Her work captures these traits of emotion in visual language. She transforms emotions, scents, songs, and fragments of writing into characters, embodying the unseen yet undeniably present colors and movements of feeling. Summer Kang’s work becomes a delicate language of empathy, offering viewers a quiet but profound resonance.

Bac Jungwon has drawn compositional paintings that express the invisible emotions and minds of humans through various scenes encountered in daily life. After receiving a bachelor's and master's degree in Fine Arts from Kookmin University, she painted unusual, dreamlike, and dramatic situations, but in her mid-30s, she began to paint natural objects and everyday landscapes. Her paintings reveal the fragile psychology and feelings of contemporary people, which are concealed beneath the solid shell of civilization. The artist portrays difficult-to-express psychological levels through a variety of painting mediums, including sketching, watercolor, and oil painting. It defines creation as the discovery of remarkable moments in the repetition of her previous everyday existence and the transformation of the meaning into a material known as painting and reconstructs a daily life from her own unique perspective.

Evi Pangestu (b. 1992, Jakarta) is an Indonesian painter based in London. She started her formal training in painting at the Indonesian Institute of the Arts Yogyakarta, then moved to the UK to finish her undergraduate degree in Birmingham School of Art. In 2019, Evi received an MA in Painting from the Royal College of Art, London. 

Evi Pangestu’s artistic practice establishes a framework of control within the square and grid structures of painting, while simultaneously visualizing the rebellion that shakes those foundations. This exhibition aims to expand this narrative into the physical and psychological experiences of the audience, encouraging a ‘forced interaction’ with the artworks. The neon yellow highlights in Pangestu’s works serve as visual cues, reminding us of the potential for rebellion that lies beneath a seemingly stable facade and visualizing the vibrant energy that emerges from the cracks.

Shuto Okayasu’s work explores the dual nature of the same thing; strange and beautiful, real and imagined, loud and quiet, chaos and harmony. Through the process of art marking, what he considers as an endless practice of recording and rebuilding, he lets his mind travel freely between the two worlds; offline and online, the present and the dream, and the past and the future. In Okayasu’s work, a complicated foreground with a crowd of vivid colors creates contrast with a simple and smooth background. Yet, they harmonize with each other in a consistent lonely quiet mood. Influenced by the sampling technique of hip hop, Okayasu chooses from what he caught visually and auditory in everyday life and his culture; Japanese Edo painting, anime, and cartoon, and combines their essence on canvas to appreciate and represent the world where he belongs to. His world is decadent and surreal, but at the same time, it is true to the actual world in some way and leaves us with hope.

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.


He explores the ways in which events and objects with fragile qualities are transformed into paintings that project his view of the world. The paintings, created by transferring the shapes of intuitive and impulsive trajectories to the canvas, coloring them, and superimposing sketch lines that go back in time, reflect the site of the artist’s body’s vital encounter with and understanding of the world. The shapes formed by the jagged, impulsive trajectories are glazed and clumsy, but there is a recollected sincerity behind their appearance.

The artist creates drawings on the fly, collecting and reinterpreting ideas from objects. He has seen closely or encountered by chance. He perceives the paper or canvas, the support for recording the trajectory, only in his peripheral vision and draws according to the impulsive rhythm of his hand, or he chooses visual isolation, not looking at the support at all. Relying on guesswork and sensation to capture shapes, the recorded objects become the sketches for the paintings, with their fuzzy shapes. Freed from the desire to reproduce the surface of the object, this act aims to truthfully record the indeterminacy and ambiguity of the body’s impulsiveness. The lines thus drawn help me to focus on the abstract fragments of the events encountered and the elements of the painting.

The brushstrokes that apply oil pigment to the drawing’s shapes move and lay out the color plane based on the direction of the drawing strokes, such as where they are applied with pressure and the rhythm of the line. In this process, the drawing outline inevitably becomes embedded in the pigment of the oil painting, which is then scratched out again with a pencil or re-emphasized with a darker brush, preserving the past trajectory as a final image. The forms maintained by the dense outlines create the appearance of a solid exoskeleton that blocks intervention from the outside, but the gaps between lines and lines become a fragile exoskeleton that allows for contact with the outside. In Jang’s paintings, the viewer’s gaze is actively invited to penetrate through the gaps in the outline, just as bacteria penetrates through the gaps in an exoskeleton, creating a field of interaction with the artist’s paintings. This phenomenon is not only the artist’s way of being in a world with complex causal relationships, but also the embodiment of the artist’s attitude toward such a world.

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.

Asmawee Karee, born in 1999 in Betong, Thailand, is an emerging artist recognized for his exploration of identity, culture, and social dynamics within Thailand's diverse communities. Currently pursuing a master’s degree in visual arts at Silpakorn University in Bangkok, he gained early acclaim as the Bronze winner in the UOB Painting of the Year competition for emerging artists in 2022. Active in competitions and exhibitions since 2019, Asmawee has developed a distinctive visual language that merges traditional Thai motifs with contemporary expression, deeply influenced by his cultural and religious background. His art poignantly addresses themes of heritage, faith, and unity, resonating with audiences across Thailand’s multicultural landscape.

Asmawee's work has initiated important dialogues around cultural preservation and inclusivity, positioning him as a rising voice in Thai contemporary art. His influence extends beyond individual creations, as he participates in community-based projects that foster connections among Thailand’s diverse populations. Through his art and community engagement, Asmawee promotes unity and cultural awareness, making a lasting impact on the Thai art scene and contributing to its evolving dialogue on tradition and modernity in a globalized world.