Marionne Contreras (b. 1992) is a visual artist based in Manila, Philippines, with a current emphasis on fiber and fabric based works. Her works are diaristic, often with themes of memory, its persistence, its purity, and its vulnerability to tampering, with constant undertones of womanhood, consistently taking the role of the female as narrator; taking visual inspiration from textures and forms found in nature while maintaining an aesthetic that leans towards the synthetic.

Highly aware of the universality of the personal, her works often carry intimate personal narratives despite her conscious decision to highlight their ornamental nature – to always stage them as a tableau of beauty given the parameters in which the very idea of “the beautiful” is meant to work.

She has been actively exhibiting in The Philippines. Her most recent one-person exhibition, Poetry has left me, has concluded last 10th of November, 2023 in Vinyl On Vinyl Gallery, Makati City, Philippines.

Alexandra Grant is a Los Angeles based artist who through an exploration of
the use of text and language in various media painting, drawing, sculpture, film,
and photography probes ideas of translation, identity, dis/location, and social
responsibility. Grant frequently collaborates with other artists, writers, and
philosophers, often going so far as to have specific texts written as the impetus
to her intricate paintings and sculptures. She has collaborated with author
Michael Joyce, actor Keanu Reeves, artist Channing Hansen, and the
philosopher Hélène Cixous, amongst others. Having spent significant portions
of her childhood and adolescence living in Mexico, France, and Spain, some of
the basic questions that fuel her practice are: How do the languages we speak
and the images we see form how we think and exchange ideas? How can
artists and writers work to create and influence culture in an increasingly
technology driven world?

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.

Jo Heejin explores structures of relation and harmony through the repetition and variation of the circle. By joining together small, thin ceramic discs one by one, the artist visualises how each unit’s particular grain and thickness accumulate into an ordered and harmonious whole.
These circular clay elements shift subtly with fingertip pressure and the material’s response; gathered together, those differences produce a surface that seems to breathe like a living organism, forming an organic structure. In Jo’s work, circular repetition is not a mere replication of form but an act that forges relationships by accommodating the other.
At every seam where they meet, a warmth is conveyed—as if the surfaces hold and draw one another in. For Jo, the circle as a “unit” is both an independent entity and the minimal language of coexistence, embracing difference to form a shared landscape.

YISLOW focuses on various relationships that form human life. However, characteristics of YISLOW’s world of art does not limit its subject of the relationship to humans but includes abstract realms such as time, incident, objects, or even oneself. By heaping disordered lines and colors that bloom from the heart, the artist tries to capture the undefinable infinite image like the random atypical humming that vanishes in her work. Perhaps the work of YISLOW is most like the imagery when the word ‘innocent’ is interpreted in the language of visual art.

Lee Ufan is a South Korean artist and art critic born in 1936 in Haman-gun on the southern Korean peninsula, then part of the Japanese empire. He moved to Japan when he was 20 years old, and developed a practice anchored in an Eastern understanding of the nature of materials together with an appreciation of modern European phenomenology. In 2009, the Japanese government honored Lee by conferring the Order of the Rising Sun for “contributing to the development of contemporary art in Japan.” In 2010 the Lee Ufan Museum, designed by Tadao Ando, opened at Benesse Art Site, Naoshima, Japan. Lee has had major exhibitions worldwide, including a retrospective at the Solomon R Guggenheim Museum in New York City in 2011. In 2014, he was selected for the contemporary art program of the Palais de Versailles, and in 2019 the Hirshhorn Museum and Sculpture Garden in Washington DC commissioned a site-specific installation for the museum’s plaza. Lee divides his time between Kamakura, Japan and Paris.

Zhu Peihong was born in Shanghai in 1987 and graduated from the printmaking department of Beijing’s Central Academy of Fine Arts in 2014 with a master’s degree.
The artist’s My Space series focuses on the dots, lines, and colour patches that flash in the picture in the process of creation as well as the traces left on the picture due to their convergence and dissolution. In this creative process, the strokes overlap and cover each other, and the paint slowly
drips and spreads, solidifies and stops, repeatedly until these fragmented traces, reaching an internal order, organically connect with each other and construct the conscious cyberspace perceived by the artist’s mind. The abstract dynamic air dome installation 'Space O' uses virtual reality technology to replace brushes with handles and canvas with the sky, releasing the magnificent colour energy existing in the universe. The artist combines art and technology to build a channel between virtuality and reality, connecting it with our world.

The characters that form the motifs of my work are common images that I have created. They are given a writing order and symbolized, and the process of preservation and change in the repetitive writing is established in the work as several afterimages, like time-lapse photography. Whenever the viewer sees a character that he or she does not remember, the difference between his or her memory and the work is evoked and referenced to the character in his or her memory, and this process reconstructs the work as a painting with intensity. The work also serves as a device to strengthen the connection between the viewer and the character with feelings of "I don't understand" or "What is this?", and as a record of a living person, not only as a work of art, but also as a portrait with an aspect as a recording medium.

Yoonhee Na, a graduate of the Department of Comics and Animation at Sejong University, has been actively publishing since 2014 to the present. She has worked on serials such as <Blind Garden>, <This Magical Moment>, <Whale Star: The Gyeongseong Mermaid>, and <A Heartfelt Andante> and was awarded the Presidential Award at the Korea Content Awards in 2021.

Born in 1994, Seung-gyun Heo, known as CCREATT, studied industrial design at university. During and after completing his studies, the artist developed a keen interest in 3D modeling. He used his creativity and imagination to transform virtual objects into digital art, videos, and figures.CCREATT’s works portray the search for self-identity, lost in a fast-changing world dominated by commercialism. The artist creates 3D models of influential figures, such as artists or celebrities, by capturing their distinct features and characteristics. These figures are then transformed into memes with added symbolism within the digital space.The characters' emotionless facial expressions enhance the implicit meanings and emotions of each figure. Additionally, the small props and items placed beside each character not only symbolize them but are also closely linked to modern society.

The artist portrays how commercialization is deeply ingrained in our society. Through his art, he reveals what may be concealed or overlooked and encourages viewers to reflect on their own relationship with these issues. While his primary focus is on creating 3D figures and reproducing famous paintings, the artist is always exploring new styles and mediums, constantly expanding the boundaries of his art.

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.

Byun Sanghwan is an artist who observes and deals with various objects.

Like a skilled martial artist, Byun navigates through urban landscapes smoothly, and at the same time, he becomes an anthropologist when observing and studying the bizarre light of some precious phenomena that are found in densely packed cityscapes. These cityscapes are disassembled into tiny units to be reborn through poetic metaphors, paradoxes, and humor, resulting in artistic creations. Everyday subjects, appearing in unfamiliar forms, beckon for a fresh perspective on urban life, while traces of physical endeavors inscribed in artworks evoke both the weariness and vitality of life.

The exploration of conditions that delineate various forms of art is also evident in his work. This includes the weight, volume, and space in sculpture, the surface, canvas and paint in painting, the process and multiplicity of images in printmaking, and the neutrality of objects. Moreover, the theme of time and body which permeates all forms of art. The questions at the boundaries manifest in his creations.

It is composed mainly of new paintings and object-based works.

Mit Jai Inn (1960, Chiang Mai) is a widely respected senior Thai artist. He studied at Silpakorn University, Bangkok (1982-1986) and Academy of Arts, Vienna (1987-1992). He is a co-founder of the Chiang Mai Social Installation Project (1992 – ) and engaged with The Land. Jai Inn’s recent exhibitions include Medium at Large, Singapore Art Museum (2014), Postpositive: Freaky You Are Always, SA SA BASSAC, Phnom Penh (2013), Untitled, H Gallery, Chiang Mai (2013), All Our Relations, 18th Biennale of Sydney, Australia (2012), Museum Serve Project, Bangkok Art and Cultural Center, Bangkok, Thailand (2011).

Shigeki Matsuyama is a Japanese contemporary artist. His work was shaped by his early career as an illustrator and his philosophical reflections following the 2011 Great East Japan Earthquake. He has since pursued a more conceptual art practice, reinterpreting through his work the impact of modern society's consumerism, pop culture, media, and technology on the human experience. His works provide visual play through the use of repetitive patterns and intense colors, and he is expanding his artistic expression through various media,
including not only painting but also objects and installations.

Born in 1992, and graduated from the Program in Master of Oil Painting Course, Department of Painting, Tokyo University of the Arts. Mikame’s paintings are created in a manner that appears to drift back and forth between opposite ends of the spectrum of the abstract and the objective. Familiar elements that exist within the artist’s surroundings, the artist’s experiences, and the various phenomena that emerge around the artist are conveyed through means of a harmonious balance between the paint and the brushstrokes. At a glance harnessing a precise air of brevity yet at the same time profoundly orchestrated, the works seemingly evolve into abstract portrayals, while in other moments embody a sense of objectivity. Mikame’s works illustrate forethoughts towards the consistent conditions of painting while simultaneously enticing the viewers with her very own unique world, anticipating the artist to further expand her future endeavors towards contemporary painting.


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.

Tum Ulit or Natakorn Ulit (ฺBorn in 1992) is an artist, cartoonist, and storyteller enamored with the world of cartoons since childhood. He completed his undergraduate studies in Animation Production at Mahidol University International College (MUIC). His passion for cartooning stems from a profound need to articulate and navigate through deep-seated pain and sorrow nestled within his soul. Through the art of cartooning, Tum discovered a transformative medium, allowing him to explore his innermost self and the intricate nuances of his emotional journey. 

Tum Ulit first gained recognition among readers through his webcomic series featured on his page “Tum Ulit”. What distinguishes him is his ability to narrate stories through visuals alone, reaching deep into the emotions and touching the souls of readers from diverse backgrounds and languages worldwide. This unique approach has inspired him to continuously create works that resonate as ambassadors of people’s emotions. Tum Ulit hopes above all that his creations spark profound reflections and become symbols of apologies, remembrance, or lingering sentiments in people’s hearts. Presently, his page boasts a global following of over 1.7 million individuals. 

In 2022, Tum Ulit made his debut in the art scene with the group exhibition “Shall I Compare Thee to a Summer’s Day?”, followed by “To the Moon and (Never) Back” in 2023 and his first solo exhibition, “Who’s Cutting Onions?” (2024) which all held at River City Bangkok. These showcases, especially his solo exhibition, captured the attention of collectors and enthusiasts alike, both locally and internationally. 


Gyume is interested in the form in which invisible things such as air, wind, appearance, and extinction are visualized in the digital space and overlaps the images collected through it into the actual painting space. It freely uses the large and distinct cadence and vitality created by irregular shapes and lines, flexible brushes and paint marks as if swimming in aesthetic space.

Soyoung Jeon brings onto the canvas plants she has grown and tended herself, as well as subjects and landscapes encountered repeatedly over days of daily walks. For her, “to see” is not merely to register visual information, but to engage in a synesthetic experience accompanied by the texture of surfaces, the volume of air, and even the scent of the wind. Through the accumulation of such sensations, she turns her attention to the layers of time formed in relation to her subjects, that is, to “relationship.” The beings she has met again and again, listening closely to what they seem to say, are often small, fragile, and easily overlooked. Yet she believes that these ordinary and delicate presences ultimately sustain herself, the world, and one another. The plants in her paintings are not simple representations of nature, but traces of relationships built over time and spaces in which the sensation of “aliveness” is quietly questioned.
She reflects on the idea that to be alive also implies moving toward death. Just as blooming and withering coexist within a single plant, her paintings hold together states of emergence and disappearance. Infusing the picture plane with the sensibilities she has learned through nature, she continues painting as a gesture of closely touching the world.

[Layers of Deficiency: Reframing Through Monsters and Frames]
The core theme permeating the artist’s work is ‘deficiency.’ While often dismissed as a negative element that renders humans incomplete, the artist strips away this stigma by infusing it with constant contemplation and observation. In her hands, deficiency is reinterpreted and brought to life as whimsical, fairy-tale-like creatures called ‘Deficiency Monster.’ These beings are meticulously crafted on soft felt, where the rich texture of oil pastels meets the delicate, sharp strokes of a pencil to create a sense of living fur.
Narratives of deficiency—once marginalized and deemed trivial—are brought to the surface through the medium of the ‘Frame,’ which the artist hand-builds from stone clay. Traditionally a tool for exhibiting and preserving something precious, the frame here serves as a protective fence for deficiency. It provides the audience with the necessary psychological distance to step back and view their most intimate emotions through a lens of fantasy.
The recurring signature of the work is the ‘Monster’—a pill-shaped creature with half-closed eyes that serves as the artist’s persona. The moment viewers lock eyes with these monsters, they undergo an indirect encounter with another’s deficiency. 
Yet, this gaze ultimately reflects back onto themselves. The artist invites the audience to meet the monster’s eyes, hoping this shared gaze becomes a moment to finally confront the deep-seated deficiencies within their own hearts.

At age 16 Marcelo began exhibiting his work as part of group shows. This he accomplished without formal art training. Driven by a passion for drawing and the encouragement of his uncle, at an early age he explored his interest in colour through the use of watercolours, pastels and coloured pencil. Later he completed a course in art at the Catholic University in Santiago.

His early works were heavily focused on religious themes, influenced by colonial baroque artists such as Bolivian Master of Calamarca, Peruvian Holguin and Italian Bitti among others. This first phase in his career lasted more than five years. Then, he discovered the force and the language of colour. Later his influence came mainly from Brueguel, Bosch, Carrington, Dali, Kahlo and Borda to name a few. This led to a second phase which he calls the “apocalypse” phase and subsequently the “altiplano magico” phase.

For years Marcelo has been engaged in the exploration of another symbolic language. The repetition of the Bolivian altiplano landscape is evident in his work. This is the landscape of his childhood and the memory of the scenery haunts him – it is magical with great power and energy.

The images in Marcelo’s paintings are at the same time whimsical, complex, absurd and surreal. These images appear to him at moments throughout the day and he is compelled to record them as sketches in order not to lose the phantasm.

Portrait of an Artist as a Mother as a Universe as an Egg (After Hildegard von Bingen’s The Universe in the Shape of an Egg)

Landscape 5

Untitled (a bundle of asparagus)

Untitled

Untitled (rituals)

Untitled (partition)

Radiant Vivid Afternoon

Calendula

Feste

Paradise

Espoir

Coaxacan

Triumphal

Medusa

Aerie

Silence

Tacit

Interval

Entre-Tien

The Beginning and the End

Ice bear

HBD_07

Lying teddy bear

A widening crack

Still life with Sphere and a floral crown

A Round Flame

A falling sphere

Today

SOMEWHERE UNKNOWN

Somewhere Unknown 17

Lo is Nothing 5

The Forest Seeks a Star

HARMONY

FOREST

The Procession Beneath the Wavering Starlight

The Little Star's Friend

The Star the Forest Seeks

Kyoungchip

Somewhere Unknown 18

Angel 1

Play

Peace

Love

Boing!

Like it

Hearts

Faces 1

Faces 2

What kind of house will we live in next? 1

Harmony

MIDNIGHT

Friends Friends

The Dream of Seeking Stars 1

The Butterfly Family

The Star Hunter 1

The Star Hunter 2

The Star Hunter 3

The Star Hunter Who Found a Flower

Connection

Connection 6

Friends Friends 12

Somewhere Unknown 10

Somewhere Unknown 11

Garden 1

Garden 2

Untitled (IV)

Untitled (I)

Untitled (II)

Untitled (VI)

Untitled (V)

Crystal 2018–3

Crystal 2016–8

Growing 1031-1087

Study_for_Null_Portrai t of someone#205

What to see in repeated portraits #029

Study_for_Null_Portr ait of someone#138

Whale Star: The Gyeongseong Mermaid

Where's Ocean?

Why Always Me?

War Is Over!

home #11

hug #39

hug #40

hug #38

home - persimmon tree

hug #41

hug #37 - bedroom

home - camellia tree

home - 이불

home - curtain

hug #36

hug #35

home - jujube tree

home - carpet

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Pure

Queen of Spade

Hommage to raymond briggs

Life is a game

Hommage to Raymond Briggs 

Snowman

Resonance Moment

The Moment of Creation

Sacrament

Color of Charity

Portrait of dazzle #262

Portrait of dazzle #260

Portrait of dazzle #263

Portrait of dazzle #265

Portrait of dazzle #264

Portrait of dazzle(bot) #228 AI-generated eyes

Portrait of dazzle #279

Self-portrait for multiple accounts #08

Portrait of dazzle #270

Portrait of dazzle AH #245

Portrait of dazzle AH(bot) #250

Portrait of dazzle #235

Portrait of dazzle #301

Portrait of dazzle AH #285

Dragon ball

Skatergirl

Rayito on the road

Making a mural

Glaciation 2.0

Fragility of change

The Cotton Shield

I rode the waves, and I was just surprised

The four leaves left by the shadow

Running blueberry

Split the night

If you pick up a rainbow

Subtle Tremor

Life1

Life 2

Creature I

Artists