In a space in between composition and abstraction, April Yang continues to use painting as a common language that includes individual appreciation. She obtained her MFA in Painting at the Royal College of Art after studying Painting at the Korea National University of Arts, and she has exhibited her work both in the UK and in Korea. Her interest in life derives from her diasporic background, having lived in several locations, and been exposed to other cultures since she was a young child. She also looks for ways to communicate across linguistic and cultural barriers. She enjoys in illustrating the spirit of mankind and environment in a range of materials and scales, whether it be in a vibrant portrait or an abstraction with a focus on color and line. Her work is intuitive and sensitive, and she hopes to appreciate it with reflection and contemplation to purify visitors’ minds and consciousness and find peace and optimism.

Studio Lenca (José Campos) fled his native El Salvador during the violent civil war in the 1980s. The war claimed the lives of over 80,000 Salvadoreños and displaced much of the population. José travelled to the US by land with his mother and grew up as an undocumented illegal immigrant.

Eventually settling in the UK, José received a Masters from Goldsmiths University of London in 2019. His work is collected and exhibited globally and was recently acquired by the MER Foundation.

His work is focuses on ideas surrounding difference, knowledge and visibility. José Campos works under the name of ‘Studio Lenca’ as the language of ‘studio’ refers to a space for experimentation and a place that is constantly shifting. Lenca refers to the ancestors of his native El Salvador.

His colourful paintings depict Salvadoran figures adorned with costume and ornament that playfully explore masculinity, the colonial past of the country and its current violent discourse. The hats and costumes allude to the folkloric traditions of Los Historiantes. MS-13 markings and 18th street tattoos are absent, instead whimsical imagery and bold colours portray a softer more vulnerable experience.

The figures in Studio Lenca’s work embody vignettes of the artist’s formative years, escaping the civil war and reckoning with his reality in a hostile environment.
The navigation of identity within Studio Lenca’s work sits in parallel with that of El Salvador and it’s neighbouring countries. Riotous layers of paint, flora, fauna, logos and artefacts represent untold stories and silenced voices. The painful legacy of colonialism, mass immigration and more recent cultural imperialism is writ large. Studio Lenca shares a maelstrom of unresolved narratives; himself and his culture displaced.

Candice Joo creates paintings and sculptures of chains to explore notions of individuality, collectivity, and the potential powers in each. Joo’s tensely arranged yet tightly interconnected landscapes of chains are where she reimagines ideas of the empowered self and of collective power. Joo received her B.F.A. from the Parsons School of Design in New York City. Select solo exhibitions have been held at Jang Design Art Gallery and Punto Blu in Seoul. Joo’s work has been featured in group shows at Helen J. Gallery, USA and Art Fairs and collaborated with Tiffany & Co., New York/Beijing.

Tos Suntos
b.1992, Bangkok, Thailand

Tos Suntos (Panyawat Phitaksawan) is a Thai Artist and Designer known for his outstanding graphic design which can apply to 2D and 3D objects in unconventional style. For his professional artist, his outstanding work is he changes the visual of traditional Thai to a combination of Thai style, universal monsters. pop culture and modern art.

Since the 2014s, TOS SUNTOS has been an illustrator who created his work from surrounding culture, human lifestyle and memory of childhood. When he was young, he was interested in Sci-fi movies and monsters. Therefore, he brings all of his experience combined with pop culture and retro style to his original art works. Tos Suntos first gained international attention when he was commissioned to Adidas Headquarter as representative from Thailand.
 
Tos Suntos has embedded Thai Identity in his delightful works in the biggest Adidas shop in the center of Bangkok Thailand. His talents are expressed in painting, digital paint, graphic design, collage art and sculpture; which are full of delicate patterns, super detail and layers of art.

FAHFAHS (ฺBorn in 1992), also known as Napath Kuntaruck, embodies the essence of an artist – a Thai visionary skilled in illustration and masterful in crafting characters. For over a decade, FAHFAHS has transversed the realm of artistry, weaving her creative tapestry. Her passion for sketching ignited during childhood. Throughout her school days, she often engaged in impromptu drawing contests and clandestinely etched sketches into her notebook, harboring a dream that one day her work would bring joy to the hearts of others.
During her studies at the Faculty of Architecture, Silpakorn University, FAHFAHS embarked on an artistic journey intertwined with her academic pursuits. While immersed in learning, she concurrently delved into various art forms, including watercolor painting, digital illustration, and the inventive creation of works derived from her drawings. Whether manifested in notebooks or stickers, FAHFAHS’s creations consistently narrate tales brimming with joy and positivity, delivered through the guise of a young girl character with flowing hair and wide, captivating eyes – an embodiment of FAHFAHS herself.
The pivotal shift in FAHFAHS’s artistic journey commenced in 2022 when she joined the group exhibition titled “When Snowflakes Fall” at River City Bangkok. Here, she spun tales of the Snowy Fairy, celestial beings emerging in the winter, of which featured a character named ‘Midnight’ – a black-clad fairy embracing sorrow and consuming darkness, starkly different from the cheerful others. Midnight became the embodiment of loneliness, imperfection, and solitude, resonating deeply within the viewer’s souls, captivating them as the most beloved character. From this genesis, FAHFAHS found inspiration in exploring human emotions and delving into the uncharted territories of her own psyche – emotions like loneliness, solitude, and profound despair along the artist’s path, Nonetheless, FAHFAHS believed that transcending this darkness required an immense inner strength, gradually forged from within. This struggle culminated in her solo exhibition titled “Basement in Your Soul”, marking her inaugural solo showcase, born from the depths of her being.This exhibition received a warm welcome from the media and collectors, and all artworks were sold out. In the same year, FAHFAHS brought her Art Toy to participate in the Pop Toy Show 2024 in Singapore and received a warm welcome from collectors in Singapore and other countries in Asia.


TENGA ONE began creating graffiti in 1992. Until around the age of 30, he was active in the streets, focusing primarily on murals and urban interventions. In his mid-thirties, he started reflecting on the contradictions he experienced through graffiti culture—the injustice, the invisibility of graffiti writers, and the complex realities they face. To express this, he began carving MDF to resemble cardboard, using it as a sculptural surface on which he painted characters inspired by Japanese animation. This method merges tactile, hand-carved forms with familiar pop-cultural imagery, creating a layered visual language.

Gwon summons fragments of memory into reality and reconstructs them into photographs, intersecting the objects that existed with the world we face now. His major works include 《Hubble》, 《Twinkle》, 《Nocturama》, 《SF》, 《Bukhansan》, 《Flashbulb Memory》, 《The Art of the Shovel》, and 《Conceptual Dictionary》. Gwon has participated in numerous curated exhibitions at institutions such as the National Museum of Modern and Contemporary Art, Korea (MMCA), Seoul Museum of Art, the Fotofest Biennial in the US, the Center for Creative Photography (CCP) in the US, and T3 Photo Festival in Japan. He was the recipient of the 1st Ralph Gibson Award (2024), the 10th Ilwoo Photography Award in the Publishing category (2019), and was selected as the Final Artist of the Year for the 7th KT&G SKOPF (2015). He has participated in residency programs including Goyang Residency, Incheon Art Platform, Geumcheon Art Space, and Nanji Art Studio. His publications include Bukhansan (Aprilsnow, 2021) and Flashbulb Memory (Hatje Cantz, Germany, 2020). His works are in the collections of the National Museum of Modern and Contemporary Art, Korea; Seoul Museum of Art; Jeonnam Museum of Art; The Museum of Photography, Seoul; and Goeun Museum of Photography.

Yihyun Kim draws about the futility of "wish." In her paintings, the theme is revealed in intense colors, an image of the deity with the motif of "Tanghwa," and the back of the wreath. The blindness of someone's act of continuing prayers even though they guess that their prayers will not be fulfilled indicates the back of what we desperately wanted, what we wanted to avoid the most. She earned a bachelor's degree from Hongik University's Department of Metal Art & Design and Oriental Painting. Currently, she is attending the Graduate School of Oriental Painting at Hongik University.

After working as an architecture 3D renderings in Japan, he moved to the United States and started working as an artist in New York. He creates characters called Poi in sculptures and paintings, and installs them in various places in the city. When he sees the installation locations on a map, he places them in the shape of Poi. “Poi” means “Path of Imagination”. The artist's wish is that everyone in the world can live in harmony so that everyone can smile. The Poi placed throughout the town heals and encourages the hearts of those who meet them, like Jizo statues on the roadside.

Minjung Key studied traditional East Asian painting at Seoul National University, where she also completed her graduate studies. The artist’s artistic practice is deeply rooted in an intimate engagement with materials. By juxtaposing the weight and coldness of glass with the softness of hanji, she explores the tension between contrasting materials. In her newer works, however, this exploration evolves—what emerges is a visual language shaped by the rhythmic qualities inherent in the line itself. These lines, generated through a painterly logic, coalesce into forms that assert a palpable sense of weight and presence within the pictorial space.


Muhammad Jabbar Dipanegara was born in Bandung, 1986. In 2012 he completed the Master of Visual Art program at FSRD Bandung Institute of Technology. Apart from being an artist, Jabar is also active in teaching as a lecturer at a private university in Bandung. 

Yujin Lee (b. 1986) is a visual artist and a collaborator living and working on Jeju Island, South Korea, where she also runs an experimental artist residency named Next Door to the Museum. Guided by the rural life on the island, her practice revolves around ecological thinking and relationship building.

The internationally acclaimed filmmaker Park Chan-wook (b.1963) has demonstrated his passion for photography through a wide variety of media channels. Park questions himself the reason behind the act of taking a picture, leading audiences to contemplate the nature of photography as a medium. In stark contrast to the carefully orchestrated scenes in his films, his photographs readily embrace happenchance and the unexpected, while at the same time possessing incisive and wry humor coupled with powerful drama. As the artist describes his photography practice, coincidence and spontaneity play crucial roles in his photographs as an 'antidote' to his experiences in filmmaking. Park, who as a commercial film director would have most astutely trained the ability to capture the sentiment of the times in his works, provides us with the motive to proactively expand the realm of unexpected beauty within the most habitual scenes of our everyday life.

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.

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.

A visual artist, filmmaker and storyteller, Korakrit Arunanondchai employs his versatile practice to tell stories embedded in cultural transplantation and hybridity. Arunanondchai is an avid collaborator who has worked on videos, performances and music together with an extensive list of people. Arunanondchai’s first video in a series of work, 2012–2555 (2012), arose from the ideas of death, rebirth and the fictionalization of time, was shown at MoMA PS1 in New York (2014). Together with Arunanondchai’s twin brother Korapat Arunanondchai, the performance artist, boychild and artist Alex Gvojic, they produce a live performance to accompany the video installation as part of the Sunday Sessions at MoMA PS1. In 2015, He exhibited Painting with history in a room filled with people with funny names 3 at Palais de Tokyo, Paris and in 2016 exhibited as Arunanondchai’s first solo show at BANGKOK CITYCITY GALLERY. In early 2018, Arunanondchai co-founded Ghost Foundation, a non-profit organization aimed to support a video and performance art series in Thailand entitled Ghost. He curated its inaugural series, Ghost:2561, during October 11–28, 2018 in Bangkok.

Arunanondchai’s works have been exhibited in numerous venues, including his recent installation “nostalgia for unity” (2024), in which the artist explores negative space and uses it as the primary medium. This exhibition is held at Bangkok Kunsthalle, Bangkok.

In a practice that spans film, photography, and installation, Arthur Jafa confronts the beauty and alienation at the heart of Black American experience. The artist often juxtaposes original and found footage, exploring the possibilities of images and their archives. Jafa studied film and architecture at Howard University. Before focusing on fine art, he enjoyed an illustrious career as a cinematographer and worked on iconic films such as Daughters of the Dust, Crooklyn, and Eyes Wide Shut. His breakout work, 2016’s Love is the Message, The Message is Death, was shown at institutions around the world, including MOCA Los Angeles, ICA Boston, and MCA Denver, among others. He has been included in exhibitions in New York, Los Angeles, Chicago, Amsterdam, and elsewhere. In 2019, Jafa won the Golden Lion Award at the 58th Venice Biennale for his film The White Album.

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.

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.

A world layered in light, the rhythm of time, and inner strata
Jian Yoo’s work delicately captures traces of life, materiality, and time within a rhythm that is both quiet and alive. Composed of thousands—sometimes tens of thousands—of points, lines, and planes of light, each piece flows across the surface, revealing an inner landscape shaped by time, experience, and environment.
Intangible layers of sensation emerge through the grain of light, moving ceaselessly toward the depths of the self. Mother-of-pearl, a recurring material in Yoo’s practice, serves as a quiet mediator between the natural world and the realm of consciousness—revealing the structure of being through a language of light.
“Exploring the nature of my materials is like looking inward. Within the flows of time and relationships that surround me, I translate quiet yet dynamic energy into fragments of light.”
The waves that ripple across the surface invite viewers to encounter the texture of perception and traces of time. Moving between material and immaterial, tradition and contemporaneity, the work visualizes the rhythm of the unseen—gently touching the viewer’s inner world and awakening forgotten layers of sensation.

Monarch of Revival

Monarch of Justice

Monarch of Beauty

Monarch of Peace

Monarch of Love

Monarch of Courage

Monarch of Liberty

Monarch of Wisdom

Tomas

Love Reflection 23_02

Stumbling On Love

A Dream That Comes With Freedom

Beyond the Surface: Eyes of Truth

Beyond the Surface

Beyond the Surface:  Blooming Truth

HUBBLE

The Art of Shovel #5

Dictionary of Notion #The Change of Seasons

Dictionary of Notion #The World of Fruits

Flashbulb Memory #Summer Break 7

Traveller Novice #5

Traveller Novice #3

The Art of Shovel #10

Those who look down at

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