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.

Tuagomstudio (Born in 1986), known as Pazut Wutigornsombathkul, a visionary Thai artist dedicated to propagating delight and merriment. His passion for art kindled during his early years, ignited by his sister's enchanting sketches. Armed with a degree in interior design, he embarked on a three-year journey in the industry before he resolved to pursue his lifelong dream of birthing his very own cartoon character.

In 2014, Pazut embarked on a creative journey, designing characters that were born from his own imagination. He started by combining geometric shapes, crafting them together until they formed a perfect circle, evoking feelings of cuteness, simplicity, and harmony. This led to the birth of “Tuagomstudio”, a name that would become a wellspring of inspiration for the artist to share positive emotions with those who encountered his creations. It became a small, bright light in the darkest of days for anyone fortunate enough to witness his work.

Pazut is not just an artist but also an ardent photography aficionado, and this passion significantly informs his paintings. Every brushstroke and meticulously selected hue in Tuagom’s realm reflects his photographic perspective. His palette primarily comprises the cheerful shades of yellow and light blue, symbolizing sunshine, hope, laughter, warmth, happiness, and vitality, all designed to elicit spontaneous joy and tell the tale of Pazut’s profound bond with art.

His first solo exhibition, ‘On Cloud Nine,’ opened in 2023 at River City Bangkok. It took the audience on a trip through the friendship and bond between ‘Gommie’, the character of a happy chubby boy, and his dog 'Bingsu', which was warmly welcomed. Then, in 2024, Tuagomstudio showcased his Art toy series ‘I'm a couch potato’ at the Pop Toy Show 2024 in Singapore, where it was highly appreciated by collectors from Singapore and other Asian countries.


Woojoo’s paintings unfold into serene worlds filled with a sense of healing and tranquility. The recurring image of the “door” serves as a passage between reality and a realm beyond it, inviting viewers to imagine an experience that transcends familiar boundaries of time and space. Landscapes composed of forests, skies, clouds, and light evoke a sense of anticipation and wonder toward an unseen yet distinctly present world beyond reality. Through these dreamlike scenes, Woojoo creates a quiet refuge where viewers can momentarily step away from everyday life, encounter their inner emotions, and simply pause.

Born in Seoul, South Korea, the Korean-American Artist Joohyun Kang has been active in artistic activities, traveling between New York and Korea, after completing a master's degree in printmaking and Western painting at Pratt Institute in 1993. Through her work, the artist aims to portray the process of living an organic life within the perception that humans are limited beings, looking at nature as a medium of expression. When viewing the journey of life through nature, the artist depicts the desire to live, endure, and integrate, similar to how nature repeats creation and destruction amidst change and resistance. By incorporating conscious and unconscious dots and lines into her work, like the unexpected encounters and events that happen in life, the artist creates a process where the generated spots collide, overlap, and achieve balance, revealing landscapes and nature. The images of these landscapes are visualized through the association of memories, whether they are scenes observed in reality or landscapes that exist in dreams or the inner self. The small units that form the paintings are abstract, drawn with numerous layers that cannot be fully grasped up close, but when viewed as a whole, they become landscape paintings. Joohyun Kang's landscape paintings, which possess both abstraction and unique atmospheres, exist simultaneously as abstractions and representations.

Joonun Kim expresses the inherent anxieties in everyday landscapes through painting. Assuming that personal lives are a result influenced by social structures, she documents the strangeness derived from minor aspects. Instead of showcasing anxiety and trauma directly in her works, she subtly captures the landscapes left behind afterward. In this surreal space-time, questioning whether it's reality or a dream, she maintains a sharp perspective by observing her surroundings. To avoid being swept into apathy or making rash judgments about situations, she disciplines himself to maintain a moderate level of objectivity. Her major exhibitions include the solo exhibition "Time Dilation" (2022, Sahngup Gallery), and group exhibitions "And Live" (2021, Art Space Mullae), and "Mind Sculpture" (2021, BGA).

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.

Jung Kwang Ho, who aims to weave between painting and sculpture, desires to explore the essence and interpretation of sculpture in particular. A sculpture is a tangible representation of an image manifested by the sculptor using materials, techniques, and tools to create a specific object in a particular way. Jung oxymoronically refers to his works as "non-sculptural sculptures," as he works with non-sculptural properties to create essentially sculptural works. The paradoxical expression is part of how he explores the essence of sculpture. The artist made no distinction between inside and outside, instead exposing the surface and penetrating through to suggest that surfaces are merely the superficial layer of sculptural essence and the surface of reality.
Jung presented solo exhibitions in various museums worldwide, including the Stedelijk Museum in Amsterdam, Art Sonje Museum in Gyeongju, Kumho Art Museum in Seoul, Gallery Thomas in Munich, Lumen Gallery in Paris, and Canvas International Art Gallery in Amsterdam. He also participated in significant group exhibitions at institutions such as the Seoul Museum of Art, Samsung Museum of Art Leeum, Singapore Art Museum, and Gyeonggi Museum of Art. His works are held in various collections, including the National Museum of Modern and Contemporary Art, Daejeon Museum of Art, Hanlim Museum of Art, Sonje Museum of Contemporary Art, and Ho-Am Art Museum.


KIM Inbai(b. 1978)'s works are characterized by the form of asking questions from a new perspective and suggesting a different sensory experience, which confronting the socially formed cognitive biases of humans and the limitations of acquiring spatiotemporal cognition by educating. In most cases, he creates sculptures by transforming the human body, and at which time the body is completely dehumanized and presented as a formative mass itself. From a large statue that signified a dignity of an authority; a clod that express a rounded sense of volume without detailed expression of eyes, nose, and mouth; and the rhythm of the body that contained by a wire across the space, the objects he creates are always dismissed or omitted, but it always implies a clue to visualize the whole imagery. Resemblance of human body, KIM Inbai’s sculpture series imply a social and cultural context or sometimes act as an abstract instrument by maximizing the basic elements of sculpture such as dot, line, volume, and texture. Through these processes, his sculpture becomes a point of contact with the external side, and at the same time it occupies a special point of constant transformation in the inner part, and which make their viewer to face a strange situation that is bordered by familiar but unfamiliar and conscious but unconscious. 

 

KIM Inbai has participated in solo exhibition at Perigee Gallery (Seoul, Korea) in 2020, Arario Gallery (Shanghai, China) in 2019, Arario Gallery (Seoul, Korea) in 2014, Arario Gallery (Cheonan, Korea), 2011, DOOSAN Gallery (New York, USA) in 2010, Arario Gallery (Seoul, Korea) in 2007, and Gallery Skape (Seoul, Korea) in 2006. In addition, he has participated in group exhibition at Taehwa River Eco Art Festival (Ulsan, Korea), CoSMo40 (Incheon, Korea) in 2021, Seoul Museum of Art (Seoul, Korea) in 2019, DOOSAN Gallery (Seoul, Korea) in 2019, Arario Gallery Seoul I Ryse Hotel (Seoul, Korea) in 2018, BREGA Artist Space (Seoul, Korea) in 2018, Daegu Art Museum (Daegu, Korea) in 2018, Seoul Olympic Museum of Art (Seoul, Korea) in 2016, Museum of Contemporary Art (Shanghai, China) in 2016, Asia Culture Center (Gwangju, Korea) in 2015, Arario Museum DONGMUN MOTEL II (Jeju, Korea) in 2015, Sungkok Art Museum (Seoul, Korea) in 2015, Seoul Museum of Art (Seoul, Korea) in 2014,  Amore Pacific Museum of Art (Jeju, Korea) in 2014, Gyeonggi Museum of Modern Art (Ansan, Korea) in 2011, MAD (New York, USA) in 2011, Saatchi Gallery (London, UK) in 2009, Busan Biennale (Busan, Korea) in 2006, Seoul Museum of Art (Seoul, Korea) in 2004. KIM Inbai participated in residency program at Seoul Museum of Art (Seoul, Korea) in 2017, DOOSAN Gallery (New York, USA) in 2011, and ISCP (International Studio & Curatorial Program) (New York, USA) in 2009. Major collections include Sigg Collection (Swiss), Arario Museum (Korea) and Seoul Museum of Art (Seoul, Korea).

Through both figurative and abstract interpretations, Seonggwang Yun (b.1999) invites us to confront our instincts and primal emotions. His “monsters” embody human repression and mirrors the viewer’s memories and psychological states through anguished or vacant gazes. 

Yun’s first solo exhibition was with ROY GALLERY (2025). He has further participated in group exhibitions at Lotte Gallery (2024) alongside famed contemporary artists in Mr. Doodle and Travis Fish. He has also exhibited actively at Postedit Gallery (2025), Space Fountain (2023). He continues to garner international attention through shows at Monat Gallery (Spain, 2023), Vinyl on Vinyl Gallery (Philippines, 2025) and Verygood Gallery (Philippines, 2025).


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

Ryoko Kaneta
b. 1991, Ibaraki, Japan

Kaneta takes inspiration from Ancient Japanese Philosophy, including ideologies such as God being one that dwells in all beings. Her artworks express the existence of Gods, Natural Phenomenons, and knowledge that goes beyond the human mind. The narrative exists but only as a fleeting spectacle of Nature which within holds the quintessential elements that Kaneta personifies through a female figure. Her paintings are dreamy populated landscapes on a large scale, they are a celebration of nature’s ephemerality as they emphasize the frailty of time, the phenomenon of weather and all the dramatic seasonal transformations that come with it. Employing her very own soft delicate acrylic colour technique, Kaneta is at the same time influenced by Rinpa and Kano Schools in their approach of painting through the eye of Ancient Japanese literature that portrays such scenes of nature.

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.

Enzo Lee is a Korean journal artist based in Brooklyn, New York. Enzo first started his journey as an artist by carrying a journal during his teenage years. Uncertain of the future, he started to write down his feelings, thoughts, and experiences to study himself, hoping to gain control over his life. Over time, the habit naturally evolved into something more and became not only a form of recording but also a form of expression. His own voice, the art. Enzo published his first book of essays and poems, “Bird in Space”, in 2014. Realizing that the voice shouldn’t be limited by any specific medium, he went on to study filmmaking to learn multi-dimensional aspects of art. He holds a Bachelor’s Degree in Filmmaking from School of Visual Arts, and works on permanent video journal series called “Piece of Life”. Currently there are about 120 episodes online. Since 2020 COVID, Enzo also started to explore the medium of painting and is now expressing journals through large paintings. Enzo is pursuing to develop his philosophy and artistry of using journal as a tool to live life itself as a form art, the "Piece of Enzo".

Warawut Tourawong currently holds the position of an Assistant Professor in the Faculty of Painting, Sculpture, and Graphic Arts at Silpakorn University. He began creating lifelike figurative paintings that aim to convey meaning through surface characteristics, reflecting objects that influence humans through clothing imagery and the expressions of individuals.

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.

Born in 1985 in Banja Luka, Bosnia and Herzegovina, Mirza Cizmic is a Helsinki-based artist who primarily works with oil on primed paper. His practice also includes sculpture, performance, and video works.

Cizmic’s artistic expression is rooted in personal experience. Rather than painting through a conventional visual lens, he interprets the world through the filter of lived experience. His artistic language is divided into two instincts: one objective and formal, the other subjective and deeply personal. This duality creates a process of moving from confusion toward understanding.

He actively engages with the boundaries between art and life, art and society, and art and activism. His role as an artist is shaped by constant self-questioning, aiming to dismantle conventional taboos, depoliticize the discourse, and highlight the core of human experience.

Theresia Venance Massawe (Theresia M.) is a Tanzanian painter who believes creativity promotes healing. Drawing from cartoons in local newspapers and animated films as a child, and the organic shapes in her surroundings, led her to pursue painting.
Her distinctive style has drawn numerous art enthusiasts from various backgrounds. In March 2022, she presented in a group exhibition "An Ode to Women" at Rangi Gallery, where she had previously participated in the Ashley Collins Workshop. In July 2022, she also took part in an exhibition at the American Ambassador’s residence in Tanzania, the Torrent Exhibition at Nafasi Art Space in 2023, and Women Artist Art Week exhibition at Rangi gallery.
She has also recently had her solo exhibition “ALL ROADS LEAD HERE” at the Dar es Salaam center for architectural heritage.

Michal Korman (b. 1987) began his art education at the age of five when the Slovak academic painter Jozef Jelenak (working in the tradition of expressionism) admitted him to his courses for children at the school of art in Korman’s hometown, Partizanske. These classes formed his artistic
foundations over a period of three years.In 2005, Korman manifested his specific style: a combination of graphic like oil painting branded with his signature as a logotype.

The landscapes of Kwon So-young (b. 1986) carry traces of time and the lingering resonance of memory. She explores the subtle sensibilities that arise between one presence and another, and the quiet tremors that exist beyond visible form. Within the interactions of ink, water, and hanji, intention meets chance to create layered depth, capturing the breath of what remains even within what has disappeared. Her landscapes portray nature as both a site of memory and a record of emotion, where stillness is not a frozen moment but the movement of time that flows and leaves its mark.

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.

Refuge

Slow Sleep

What Remains Only After Vanishing

Shell of the Waning Moon

Night of the Hunt

On Cloud Nine Sculpture

Seed of Light_Lighting the Way,

Flower Boat

First Light

Stillness

Together

Where Dreams Linger

Seed of Light_Bloom

A Flower of Life

Where Life Blooms

Two Doors_The Sky

Two Doors_The Deep

The Tree Within

Fruits of Light

Beyond the Green

Seed of Light_Discovery

Holding the Light

Toward the Moonlight

Traces of Warmth

Visual Accumulation

The Inner Universe and the Outer Universe

Dog with a bent back

The flowers soon revived in water

Mother's hand

Leather

Leather boots and ants

City without dog

Vase, Flower, Picture Frame

Circle_2

Circle_1

바람

밤하늘의 별처럼

저녁노을

Study_for_Null_Portr ait of someone#138

Study_for_Null_Portrai t of someone#205

What to see in repeated portraits #029

초점찾기 1

밤의 조각 a piece of the nigh

밤의 틈새 the cracks of the night

틈새 III Transparent gap III

멀지도 가깝지도 Neither far nor near

어디에나 있는데 It's everywhere, though

가깝고도먼 2

속과 겉이 다른 새 1

가깝고도먼 11

저기

가깝고도 먼 1

구멍

까닭 없는 마음

멀고도가까운 1

점의 주변

텅빈 새 1

The Flower 21100

The Pot 24130

Back 1/4-drawing 4

Back 1/4

Back 7/8

By This River

Two Days

The Three Shades

My Little Sun

Back 1/4-drawing 3

Caught One!

Ah?...

Back to the Past

Baseball

Buddy

Cell

Holding Back Tears

I'd Like to Take Out a Loan...

I'm Crazy, at Sunset

It's Over There

Off-Line Ceramics

Mushroom

Oh... haha

This Card Is Maxed Out...?.........

Smiling Friend (1)

Smiling Friend (2)

Smiling Friend (3)

lt's so outrageous i can't say a word

Neuron

Superstar(1)

Oh....that's not it ...plz

Haok Valley-Down #B-1

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

Artists