
Living and working in Bangkok, Thailand.
Butsapasilaexplores the process of creating collective memories through informal
storytelling across diverse contexts. This includes forms such as folk legends, historical fiction, mystical beliefs passed down orally, as well as conspiracy theories circulating on blogs, alongside personal memories from his own youth.
Much of his work delves into the historical memory of the Thai state, with a particular focus
on the northern region. His research examines the transformative period between the colonial era and the Cold War, a time when perceptions of space were shifting, laying the foundation for contemporary and future worldviews.

Jin Han investigates and depicts incidents related to universal feelings of sadness and anxiety. She is currently studying visual arts at Seoul National University of Science and Technology, she actively exhibits his work to the public. The artist analyses emotions such as melancholy and an inherent sense of isolation, beginning with a sensation of anxiousness based on fragments of autobiographical recollections. The artist creates a distinctive sense of self-using thin, overlapping, and dripping brushstrokes to 'bring out' the memories and feelings onto the canvas. Through her art, she offers contemporary audiences a message of shared experience, empathy, and healing.

Pawarisa wangkhomfu was born and raised in Phayao. She graduated with a bachelor’s degree from the faculty of painting, sculpture and printing, Silpakorn University. She had participated in Portrait Prize exhibition in 2023 and Being human exhibition in 2019. Moreover she had participated in Art Busan, an international stage in 2024. She has solo exhibition “Younger Dryas” in 2023 and "Human Behaviour" in 2024.

Ryle Russel's works are inspired by popular science fiction references such as brain radiostatic surgery, the song Gamma Knife by King Lizard and the Gizzard Wizard.

SAMBYPEN is a pop artist who reinterprets contemporary popular culture through parody and humor.

Drawing from familiar imagery—corporate mascots, internet memes, cartoons, and masterpieces—his work questions the boundary between the real and the artificial.
Working across drawing, digital graphics, painting, and street-based practices, he pursues an accessible language of art for everyone.

Through his work, Hyunho Park soothes the trauma in memory, replaces its image with other images and functions as though he is undergoing his own rehabilitation. He majored in Western Painting and Video Media at Seoul National University, is currently undertaking a master's degree in Western Painting at the same university, and aesthetically conveys a sense of the past and recollections. The artist depicts disasters like tsunamis, enormous waves, aurora, and meteorites with dazzling forms and hues in his paintings. He tackles not only the artist himself, but also confronts natural objects with self-portraits of the weak human body inside the minds of contemporary people. With synaesthetic imagery, he shares the story of his tough life experience and urges the audience to empathise with his feelings. 

Everything is finite. We are always moving away from one thing, and everything is also moving away from us. It's just a matter of how short a moment it is. ‘Time in Lines’ is a work that reflects this fragile truth. The artist describes landscapes using line as my main expressive language. It reveals the existence of the landscape and at the same time erases its form.

Toshiyuki Shibakawa developed an installation of "Excavation site 2000 years later" and recently produced (fossil) type artifacts excavated from there. They not only exhibit individual works but also exhibit various things (Archaeo- logical materials, works of art, antiques, relics, goods, etc.) in collaboration. They hold exhibitions and projects that focus on the region and place such as museums in Japan and overseas, historical buildings and shopping streets. At the same time, they hold workshops for a wide range of people, and continue their activities to reexamine the existence of things and contemporary problems.

Ping Hatta (b. 1990), is an artist whose work explores the intersection of strength and softness within femininity. Inspired by personal narratives, nature, and everyday moments, she paints vibrant, surreal portraits that capture the nuances of womanhood—both its resilience and vulnerability.

Born in 1983 in Taipei, the artist graduated from Taipei National University of the Arts, majoring in Fine Arts. His early works focus on portraiture through erasure and alteration, offering a personal emotional interpretation of everyday social relationships. Recently, his work has explored narrative methods and stylistic models established in various periods of art history, using classical painting techniques to piece together, simulate, and reshape images that evoke the fantastical feel of a stage play. Through the language of painting itself, he seeks to examine the tangible and intangible distances between viewer and artwork, as well as the gaps and discontinuities in Taiwan’s reception of Western art, shaped by historical and cultural contexts.

In 2008, he held his first solo exhibition, “Days Like These,” at Dynasty Gallery in Taipei. His works have received the Taiwan New Art Award, the Kaohsiung Award, and the 2005 Young Artist Award, and are part of the National Taiwan Museum of Fine Arts collection. Recent exhibitions include Taipei Art Fair, Instinc Art Space in Singapore, Eslite Gallery in Taipei, and Aki Gallery.

Kang Kang Hoon's portrait series not only captures external features but also delves into the deeper emotional essence of each subject, inviting viewers to confront their true selves. His daughter, a recurring motif, serves as both the focal point of the artwork and a reflection of Kang himself. In a recent oil painting series, Kang incorporates symbolic object cotton, inspired by a yearning for his recently deceased mother. The contrast between withered branches and bloomed cotton subtly conflicts and harmonizes, contemplating intergenerational connections. Employing cotton as a metaphor for the enduring connections within humanity, Kang explores broad themes of the past and future on the delicate realm between figuration and abstraction.
Major exhibitions featuring his works include the Jeju Museum of Art, Jeju; Wooyang Museum of Contemporary Art, Gyeongju; Clayarch Gimhae Museum, Gimhae; Gyeonggi Provincial Museum, Ansan; Jeju Museum of Contemporary Art, Jeju; Gyeongnam Art Museum, Changwon, and Seoul Museum of Art, Seoul. His works are in the collection of the National Museum of Modern and Contemporary Art. He has been featured and sold out at numerous art fairs worldwide, including Hong Kong, Singapore, and Shanghai, and he continues to remain active internationally as one of the most recognizable, leading artists in Korean contemporary art today. 


Koh Sang Woo is a renowned multidisciplinary Korean artist best known for his signature “Blue Tone” artworks, which explore themes of animal extinction and human identity. His expressive use of color and climate focused topics has earned him recognition both in Korea and internationally. Join us on a journey through the world of Koh Sang Woo, where art serves as a powerful tool for positive change, addressing global issues and transcending cultural boundaries. His impactful artworks not only grace K-Dramas but also capture the attention of galleries and museums worldwide. 

Abang is regarded as one of the most famous artists for her unique and romantic depiction of us enjoying the modern day, which she achieves by using vibrant colours to reveal the mysterious line between daily life and the non-daily. After receiving a master's degree in illustration from London's Kingston University, she began to paint free-living individuals in vivid colours. Based on the catchphrase “Fun, Witty, and Romantic”, she is currently operating her own brand of design products called “My Real Abang,” including graphics for numerous periodicals, webzines, and album covers. Abang explores “things that keep my life rich, free, sexy and warm” throughout her works, and is actively collaborating with worldwide brands such as Spotify and Valentino, as well as broadcasting, product, and fashion firms to develop an 'Abang-like' style. 


 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. 

Glen Wilson's multi-disciplinary practice is comprised of photography, sculpture, filmmaking, installation, and assemblage. Provoking questions around voice, visibility, and cartography, Wilson’s works suggest fluid narratives of place, diaspora, cultural heritage, and the intersections of individual and communal identity. Wilson received a B.A. from Yale University, New Haven, CT and an M.F.A. from the University of California San Diego. Recent group exhibitions include the Getty Center, Los Angeles; California African-American Museum, Los Angeles; the Museum of Contemporary Art, Los Angeles, CA; Honor Fraser, Los Angeles, CA; Charlie James Gallery, Los Angeles, CA; Quotidian, Los Angeles, CA; Torrance Art Museum, CA; Eastside International Los Angeles, CA; and the Los Angeles Municipal Art Gallery, CA. Wilson spent a year as a research fellow at the New York Public Library’s Schomburg Center for Research in Black Culture, Harlem, NY.

Manjae (Park Juhyun) has devoted his painting practice to a single, inexhaustible subject: the dokkaebi, Korea's indigenous supernatural being. Rather than merely depicting this trickster spirit, his large-scale acrylic paintings make its sinmyo (神妙) — the quality of being at once numinous and unfathomable — directly available to the senses. Densely packed canvases teem with all things in creation: mythic animals and plants, East Asian architectural motifs, machines and airplanes, and crowds of figures whose status, dress, and gesture each hint at their own symbolism, dispersed across the picture without a single center.

Mitsuyo Okada is a Japanese-born, Brooklyn-based painter whose atmospheric works capture the emotional essence of nature through soft, lyrical depictions of light, plants, and seasonal memories.

Anouk Lamm Anouk is ar=s=c prac=ce spans pain=ng, drawing, sculpture, installa=on, and wri=ng. Their manifesto claims: “No Age, No Gender, No Origin”, or as they say: “I am no one I am nothing” which could be a reference to their embedment in Zen Buddhism. Anouk iden=fies as trans-non-binary and by virtue of this and living as a Person with au=sm, it is crucial to them to rid themselves of the external a`ribu=ons and labels that come from norma=ve society in order both to see and encounter others without the violence of classifica=on and an=cipa=on, to be truly open.
The star=ng point of their pain=ngs is the raw linen, the canvases itself is crucial. The unprimed frontside of the linen is a living part of their works and becomes a connec=ng visual element across several series. Their colour pale`e is strictly limited, most oDen to earthy colours, hues of black and off-white are also present; reduc=on is key. Anouk works both in series and independently of series – some pain=ngs are solely abstract, while others are predominantly figura=ve – all of which is connected by unique handwri=ng and gestural strokes. Text or text fragments are also part of their prac=ces. The texts are inten=onally unobtrusive, some=mes they require viewers to look for them. These give a hint or raise ques=ons.
In their work, Anouk returns to certain mo=fs, beings, and rhythms, which they unite together into a singular, holis=c cosmos, with the aim of conjuring peaceful spaces for contempla=on with a strong undercurrent of desire. This can be seen in their mostly figura=ve representa=ons in the “Lesbian Jazz” series, which features abstract symbols and mo=fs embedded next to naked bodies. The bodies on the canvas are oDen female or non-binary, some=mes sexless, and always anonymous. Faces or facial expressions are rare and usually leD out, because “Lesbian Jazz” portrays above all iden=ty, a lifestyle, a community, and not individualised portraits. Their ar=s=c prac=ce emerges from the urgent need for queer visibility in a world rife with discrimina=on, and their pain=ngs explore the visual languages of fluid iden=ty and body as they are coded and re-coded within society.

﻿I begin my work by examining the surface of worn coins, an act that calls forth forgotten civilizations rather than mere observation. Using optical and electron microscopes, 
I extend microscopic surfaces beyond the limits of the naked eye and translate them into visual language, juxtaposing additional images onto the metal.
The microscopes are not merely tools of magnification but devices that transform perception. I no longer see coins as currency, but as material records where power, belief, and identity are compressed, their cracks and textures revealing layers of time and history. I overlay these surfaces with newspaper articles, film scenes, and symbolic objects, allowing images from different eras to collide and intersect within a single frame.
For me, magnification is both a physical expansion and a metaphorical leap toward deeper perception, where scientific visuality and imagination coexist.
Ultimately, this work uses technology to reveal the unseen and question what is recorded or erased, turning the coin into a canvas for lost voices.

Sejin Kim focuses on subtle sensations that arise in the body before they are clearly defined by language. Rather than emotions that have already been interpreted and organized, the artist is drawn to raw states that exist prior to such articulation.

Tracing sensations that pass by fleetingly or disappear before they can be fully grasped, these elusive states are translated onto the surface. Rather than conveying a fixed meaning, the work is closer to recording how a particular sensation once existed.

Such intangible sensations ultimately reside in the human body. Kim sees the form of the body as revealing human existence more directly than language, and attends to the traces of sensation that remain within it. Drawn to this honesty of the body, the artist adopts the human figure as a central motif.

Jack Kabangu (b.1996, Zambian) is a Copenhagen-based self-taught contemporary artist whose practice fuses the rhythms of urban culture with the layered identity of the African diaspora. His paintings are charged with bold color contrasts, tactile textures, and recurring mask-like faces that recall both tribal iconography and contemporary street culture. Drawing inspiration from graffiti, hip-hop, and personal memory, Kabangu stages the dualities of joy and pain, beauty and ugliness, light and darkness in a raw yet poetic manner. Using brushes, fingers, and scrapers, he leaves visceral traces that infuse his canvases with immediacy, evoking echoes of Jean-Michel Basquiat while forging a distinct visual language of his own. Rapidly gaining international recognition through exhibitions across Europe, Asia, and the U.S., Kabangu is emerging as one of the most compelling voices reimagining identity and expression in today’s global art scene.

Sungju Ham discovers a formal language from close and familiar images and conducts experimental work on the canvas, varying the frames of the images. He focuses on the boundaries of experiencing the unknown by translating images viewed through phone screens and computer monitors, and then transferring them to canvas. The work process involves capturing the reference image in its liquid crystal state, then translating the image through the camera, followed by the painting process. 

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.

the Temple of Doom no.2

Grain

Distance

Shadow

Tundra

Garden

Look Back

Insensitive

Churning of the Milky Ocean

The Longest Chain

Dalmatian 2

Friendship

Bomb

Bombie Face 5

Costumes

Dali

The Structure of the waves- rough, soft and sharp

Devouring wave and fragile my body

Mind Explosion

Appearance II.20191036 (Canvas Fossil Excavated 2000 Years Later)

Appearance II.40210206 (Kewpie Doll Fossil Excavated 2000 Years Later)

Appearance II.40220210 (Kewpie Doll Fossil Excavated 2000 Years Later)

Messenger no.27

Messenger no.26

Messenger no.20

Messenger no.14

Artists