Genteki Yamashita was born in 1998 in Kanagawa Prefecture. He graduated from BA Oil Painting at Tama Art University. Yamashita explores the possibilities of diverse materials such as charcoal, crayon, oil and waste wood from everyday objects in his paintings, drawings and sculptures. By drawing lines and surfaces as if in direct contact with the screen, the distance from the screen and the physicality of the act of drawing remain on the screen. The medium that accumulates on the screen is like a pool of water that accumulates during a tour, and is formed as a work of art with unpredictable phenomena, instability, inevitability and coincidence in the production process. By wearing the accumulation of time through Yamashita’s handiwork, the work has a sense of weight, including an appearance and shape caused by artifice.


Alex Cho observes the subtle moments of mistranslations in his works. For him, these mistranslations are akin to off-pitch harmony or miscommunication that somehow makes sense. Information seems to overpower reality, appearing as translated or compressed surfaces. Amidst the current state of information overload, the artist seeks out gaps and errors that feel awkward. Using floaty drawing elements and a loose, painterly expression, the artist aims to react to and reassemble encountered information and events, creating new possibilities. The artist hopes to capture moments of awkwardness in these ambiguous spaces. His works resemble anti-humor jokes or awkward silences. The desire to go beyond information and drifting thoughts emerges on the surface of canvases as mistranslations, even if only superficially.

The artist expresses what is difficult to put into words through drawings and writings. Her work is particularly inspired by the light of spring and summer, as well as books. Books, to her, are more than mere reading materials—they are both physical and intellectual mediums with a unique allure. Clear and tangible in hand, yet boundless in depth, books share a striking resemblance to paintings, a connection the artist continuously explores.
When faced with overwhelming moments or passing waves of solitude, she often finds solace in libraries and bookstores. In these spaces, where the energy of those who create books and those who seek them converges, the act of flipping through pages amidst unfamiliar crowds brings a quiet sense of comfort. Sometimes, without intention, she stumbles upon a sentence that feels as if it was meant just for her, experiencing a fleeting yet profound resonance. These moments are not grand revelations or life-altering epiphanies, but rather subtle, transient impressions—precisely because they are so brief and delicate, she seeks to hold onto them. Through light, color, and form, she translates these experiences into her art, inviting viewers to share in her quiet yet deeply felt reflections.

Rizal Hasan
b.1992, Gresik, Indonesia

Graduated from Indonesia Institute Of The Arts Yogyakarta, Indonesia. He is currently based in Sewon, Bantul, D.I Yogyakarta, Indonesia. Artist selected solo exhibition: “POP Script : Encoding The Everyday” 2021 Indie Art House Yogyakarta; Special Art Project with Jogja Affordable Art at Jogja Art Gallery, 2022; ARTJOG 2022; ARTJAKARTA 2022.

Sujin Lee captures the quiet, psychological unease embedded in the everyday. Borrowing emotionally neutral imagery—film stills, mundane objects, and diagrammatic forms—she turns them into compositional experiments that probe the instability of feeling. By revealing only fragments of the human figure or treating still life as a kind of portrait, Lee transforms personal experience into a shared sensibility. Her paintings balance tension and stillness, strangeness and calm. In her work, anxiety becomes not a singular emotion but a medium for painterly exploration, reframing how emotion itself can be seen and understood.

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.

Tina Braggar, as a conceptual artist, explores themes of originality, reproduction, authenticity, repetition, and difference in her work. Since 2011, she has been investigating these ideas through the “dancing bear,” a symbol associated with the 1970s American rock band The Grateful Dead. Braggar’s interest in the bear is largely unrelated to the band’s music. Instead, her artistic practice focuses on how this counterfeit icon challenges notions of the official versus the unofficial and the original versus the copy, concepts inherent in our extractive relationship with nature and culture.

I had painted the landscapes that passed by fleetingly. Looking back, all that remained were the dry landscapes, filtered through my own filter, leaving only monochromatic shapes lingering in my mind. Currently, I'm more focused on expressing the colors and forms of the subjects as perceived through my brushstroke, rather than shaping the mental images in my mind. To be honest, I've deliberated a lot on the subjects I find beautiful and the ways to portray them.

In the natural subjects I observe, there's texture in everything. Trees display different textures based on their types, and when they come together to form a mountain, each tree's texture contributes to a collective yet distinct texture for the entire landscape. The texture of sea waves also varies with time, weather, and seasons, influenced by the direction and intensity of the wind. These textures, filtered through my vision, manifest differently on my brush and create diverse patterns within the rectangular canvas.

As for the subjects, there are no predetermined themes or special elements. However, one thing stands out – I paint natural landscapes that have emotionally resonated with me, excluding human traces. In my paintings, there are no houses, streetlights, power poles, or roads. If you were to imagine the surroundings of the uninhabited landscapes I paint, it might resemble the environment when one is left alone on a deserted island. Perhaps, in my art, I wish to savor, admire, and cherish such landscapes that others might overlook. I hope they get lost in the beauty of the untouched nature I've depicted, with no human presence, and simply indulge in the experience of admiration.

Haejin Yoon creates emerging new dimensions with fragments of memory drawn from various cultures, from ancient Lascaux cave paintings to extraterrestrial creatures in Sci-fi films. Yoon uses rich colors and uninhibited expressions to bring out her key word of High-Voltage Low-Tech reflected in her artworks. Her paintings and collage works depict new signs and icons with dynamic expressions. Following her undergraduate and graduate degrees in Fine Arts completed at Parsons School of Design, Yoon began her international career. She received wide attention following her solo exhibition at the A.I.R. Gallery (2009) receiving favorable reviews from New York Times critic, Roberta Smith.

For Moonhee Cho, the series of photographic works are both a process and a result of pusing ‘resemble’. ‘Resemble’ creates a gap skimmed from reality, making one revisit the place glimpsed at first sight. The landscape that was once passed by reveals a dramatic presence in a form that was never reached, even in places that were numb, different from the afterimage left in the mind. Following the image in the landscape, she visualizes the conflict stemming from ‘resemblance’.

Kowit Wattanarach was born in Loei province, Thailand. Through out his career, he has continually creating a magnificent paintings.

Additionally, he had exhibited in domestic and international stages such as 

Asia Contemporary Art Show, Asia Top Gallery Hotel Art Fair (Hong Kong), Expo Exhibition, Absolute Art Gallery (Belgium), Art Busan 2023 (Korea), Art Busan 2024 (Korea).

Ikumi Nakada is an artist who captures the pure emotions of childhood and inner landscapes through delicate brushstrokes, precise pencil lines, and soft color palettes. Her work often centers on children (or childlike figures), surrounded by spaces and objects rendered in dreamy and nostalgic tones. Drawing from her observations of children’s behavior, her pieces evoke both the innocence of youth and the bittersweet nostalgia of adulthood. Using oil paints and pencils, she meticulously reimagines childhood memories in pastel hues, inviting viewers to immerse themselves in their own past emotions. The children in her artworks often display serene or nonchalant expressions, appearing like remnants of forgotten feelings from adulthood. Born in Saitama Prefecture, Japan, Ikumi Nakada earned a degree in literature and art from Seijo University and later studied illustration at the Vantan Design Institute. Her works have been exhibited in various countries, including Japan, Taiwan, the United States, and China. In 2021, her piece Not Angry was auctioned at Ravenel in Taipei, achieving a final bid of $14,561.


Pannaphan Yodmanee
b.1988, Thailand
Currently lives and works in Nakhon Si Thammarat, Thailand
 
Pannaphan Yodmanee combines found objects, natural elements such as rocks and minerals, and painted elements that recall traditional Thai art and architecture. The artist examines the relevance of Buddhist philosophy to our lives. Through her works, she explores Buddhist philosophy and cosmology. Utilising a combination of raw, natural materials with found objects of contemporary origin, her works imbue the painted designs and motifs endemic to traditional Thai art with the universal and persistent themes of loss, suffering, devastation, and the karmic cycles of death and rebirth. 

Pannaphan Yodmanee has widely exhibited her work and attend international art events including the She POSSIBLE International Women's Day (2023), Art collection in Soho house Bangkok (2023), PARADISE Lost BACC Bangkok(2023), Art Basel Hong Kong (2022), Art Macao (2021), 15th Lyon Contemporary Art Biennale (2019-2020), 11th Bienesse Prize, Southeast Asian, Shodoshima Island, Japan (2019), The 9th Asia Pacific Triennial of Contemporary Art (APT9), Gagoma, Australia (2018), The 1st Bangkok Art Biennale (2018), TIME LAPSE, Tang Contemporary Art Gallery, Beijing, China (2018), An Atlas of Mirrors, Singapore Biennale 2016, Singapore Art Museum, Singapore (2016), Thailand Eye, Saatchi Gallery, London, UK (2015), Myth/History II: Shanghai Galaxy, Yuz Museum, Shanghai, China (2015) and Thai Charisma: Heritage + Creative Power, Bangkok Art and Culture Centre, Bangkok (2014)

Her received numerous awards such as 1st Prize, Bualuang Gold Medal, The 35th Thai Traditional Painting Awards (2013), as well as the 1st Prize of the 1st and the 2nd Young Thai Artist Awards (2006, 2007). In 2016, Pannaphan Yodmanee also won the prestigious 11th Benesse Prize.


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. 

Ricardo Passaporte's work draws attention to the hand-drawn, homespun nature of their creation by
referencing Outsider Art and engaging with the repetitiveness and impulsivity of graffiti. The artist explores
the symbolic nature of found images and uses this material as inspiration to inform his practice. Passaporte
takes interest in and raises questions around the nature of making art, as well as the dichotomies between
the mass-produced and the uniquely singular art object.

Expanding the language of craft to an architectural scale, Lee Myungjin conceives and fabricates ceramic modules engineered with upper–lower joints. Where modules meet, lines and planes intersect; steps between verticals and horizontals accumulate into an open-ended system, and in the cadence of repetition an assured sense of architectural proportion emerges.
Built coil by coil, the clay locks together with the precision of masonry, while the finished surfaces and tones recall concrete, brick and other building materials. This approach grows from the artist’s resolve to push past studio constraints and actively recalibrate form and scale—a throughline made clear in the series Stacked Room and Column.

Lee’s works fuse craft exactitude with an architectural syntax: the poise of line and plane, the discipline of proportion and interval, producing objects where utility and figuration coexist. The module, as a primary unit, operates like the language of an architectural drawing—densely plotted lines and symbols. Yet Lee moves beyond that regimented order, continually experimenting with and substantiating new sculptural silhouettes through varied permutations of the module.


Richard Prince is a contemporary American artist, widely recognized as a pioneer of Appropriation Art. His work is characterized by taking existing images, transforming or recontextualizing them, and thereby assigning new meaning to them. This method particularly involves the use of media, advertisements, and images from popular culture, often sparking debates over authorship, copyright, and originality. Despite the controversy, Richard Prince has achieved great success in the contemporary art market. His works have sold for high prices at auctions and have been exhibited in major museums and galleries around the world. Notably, his pieces are part of the collections at institutions such as MoMA and the Guggenheim Museum. Through appropriation, Prince continues to challenge the boundaries of copyright and creativity in contemporary art. His works go beyond merely borrowing images, offering deep insights into how images are consumed and interpreted.


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.

Morae Shin is a contemporary artist renowned for her dreamy yet sensuous artistic world. Her works often employ pink tones and neon lighting, creating a unique atmosphere that blends vivid colors with expressionless figures. Through these figures, she conveys emotions such as solitude and emptiness, inviting viewers to interpret and confront the feelings embedded within her art from their own perspectives.

Since beginning her career in 2013, She has expanded her creative endeavors across various mediums, including digital illustration, painting, and video art. She regards her work as a "diary," capturing elements closest to her heart. This approach allows her to infuse her creations with her distinctive sensibility and personal narratives.

Jojo Anavim is an American contemporary artist recognized for transforming the language of consumer culture and brand imagery into a distinctive artistic vocabulary. Drawing from his background in graphic design and marketing, Anavim incorporates familiar logos, advertising icons, and cultural symbols into his work, reassembling them with expressive brushwork and layered textures. His paintings capture both nostalgia and critique, reflecting on how mass media and consumer goods shape collective memory and personal identity. By merging commercial aesthetics with painterly gestures, Anavim situates his practice at the intersection of popular culture and fine art, continuing the legacy of contemporary pop art while infusing it with his own autobiographical narratives.

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