Lee Soon-joo (b. 1959) was born in Seoul and is currently based in South Korea.

She graduated from Hongik University in Seoul and the Städelschule in Frankfurt, Germany. She has held solo exhibitions at various notable venues, including Gallery IN HQ (2026), ONE AND J. Gallery (2023), Obscura (2019), Space IKKI (2018), Seongbuk Museum of Art (2016), and Project Space Sarubia (2004).

Additionally, she has participated in numerous group exhibitions at major institutions and art spaces both at home and abroad, including ONE AND J. Gallery (2024, 2023, 2021), Seongbuk Museum of Art (2017), Total Museum of Contemporary Art (2015), Gyeonggi Museum of Modern Art (2009), Arko Art Center (2006), Seoul Museum of Art (2005, 2004), and the Gwangju Biennale (2000).

Lee has also been an artist-in-residence at the National Museum of Modern and Contemporary Art (MMCA) Goyang Residency (2005–2006), Ssamzie Space (2001), and Art Omi in New York (1999). To this day, she continues to develop her own unique visual language, focusing primarily on painting and drawing.

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. 


Jiyoon Jeong - has held group and solo exhibitions in the UK and Hong Kong.  She has a strong domestic fanbase and is an emerging artist with a lot of potential for future success.


Seong Hee Huh(b.1984) expresses the aesthetics of Korea through the pictorial verification of our cultural heritage. Recently gaining much attention for her "Inkstone(Yeonjuk)" series, she presents paintings that capture the beauty of Joseon white porcelain. She uses cultural artifacts from various museums in Korea and abroad as her subjects, with her works held in collections such as IBK and Shinhan Card. Currently, she also serves as a senior researcher at the Seoul National University Art Conservation Research Center, combining her artistic practice with cultural heritage research.

Bac Jungwon has drawn compositional paintings that express the invisible emotions and minds of humans through various scenes encountered in daily life. After receiving a bachelor's and master's degree in Fine Arts from Kookmin University, she painted unusual, dreamlike, and dramatic situations, but in her mid-30s, she began to paint natural objects and everyday landscapes. Her paintings reveal the fragile psychology and feelings of contemporary people, which are concealed beneath the solid shell of civilization. The artist portrays difficult-to-express psychological levels through a variety of painting mediums, including sketching, watercolor, and oil painting. It defines creation as the discovery of remarkable moments in the repetition of her previous everyday existence and the transformation of the meaning into a material known as painting and reconstructs a daily life from her own unique perspective.

Adept in printmaking, watercolor and installation, he is best known for his sculptures, particularly his silhouettes, which range from miniatures to large-scale works. Often disturbing or awkward, the sculptures present distorted expressions and a malevolent presence, exploring the role of the artist in contemporary society.
Architectural models are also an important part of Thomas Schütte’s artistic practice. He has created a series of models, in different scales, including Model for a Hotel (2003), which was installed on the fourth plinth of Trafalgar Square in London in 2007. He refers to the models as a way of opening up works to the viewer: “I use models because they are something anyone can understand. You can see them as a prototype for something bigger, something seen from a child’s perspective; you could see them as a public stage. Schütte has had many solo exhibitions at venues including the Dia Center for the Arts in New York in 1999, the Reina Sofia in 2010, the Serpentine Gallery in London in 2012, the Fondation Beyeler in 2013, and the Kunsthaus Bregenz in 2019, among others. He received the Golden Lion at the Venice Biennale in 2005 and the Düsseldorf Prize in 2010. Schütte’s work is in the collections of the Tate Modern in London, MoMA in New York and the Art Institute of Chicago.

Muchlis Fachri (Muklay) is a visual artist residing and working in Jakarta, Indonesia. Muklay received several awards including being named as one of Forbes Indonesia 30 under 30 (2020), 3rd place in Indonesia Art Awards (2015) and best artwork at Nalar Sensani Seni (2015) Galeri Nasional Indonesia. His solo exhibitions include Perplexity Relation at SH Artspace, Ginza, Tokyo (2020) and See Something Strange at Artotel Thamrin, Jakarta (2016). Muklay thinks collaboration is exciting because he get to meet new people.

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.

Le Phi Long (b.1988) is a visual artist based in Ho Chi Minh City and Dalat, Vietnam. He
graduated in interior design at Hue Fine Art University in 2012. Long’s practices include paintings,
site-specific art and conceptual objects. His practice is based on the study of the historical and
geographical origins of humans, intervention in the cultural shift and the effects in the community,
especially his generation.
Long feels that his generation lacks knowledge of Vietnamese history. Local materials and teaching
documents about this matter are incomplete, and this has impacted the way his generation identify
themselves, their journey of self-development and the connection to the international community.
Long is eager to search and compare local and international materials to close the knowledge
gap. Since 2016 Long has been focusing on the Dong Duong Lang Du project, which examines
French Indochina archives (late 19th and early 20th centuries) to explain the concern in the issue
of generation transmission in Vietnam.
Long co-founded the artist residency eNAME Art Center in Hanoi (2012) and MOIland, an art
center in Dalat (2017). He took part in residencies at Sàn Art in Vietnam (2013), the Bamboo
Curtain Studio in Taiwan (2015), Asian Highway Project in Korea (2018) and the Cité
Internationale des Arts in Paris (2020). Phi Long has exhibited and taken part in programs in the
UK, USA, Belgium, Portugal, France, Korea, Taiwan, Thailand and Vietnam.

Mira Park (b.1982) navigates the space between consciousness and the unconscious, constructing layered compositions grounded in black. Her works depict surreal combinations of humans, animals, plants, and objects—grotesque, unstable entities that seem to move independently within the frame. These forms suggest stories, yet deliberately resist any fixed narrative. Through recurring motifs like holes, doors, and windows, she blurs the boundary between the real and the virtual, hinting at the possibility of other dimensions. Horn-like forms—recalling tentacles, branches, or hands—suggest fluid mobility and a sense of continuous dimensional shift, pulling the viewer into the unknown.

KeunWook Ji develops his paintings with a focus on how images are formed and on the material conditions that structure the picture plane. Rooted in an interest in scientific thinking and structural systems, his work treats the making and accumulation of lines as a distinct formal language. In works using colored pencils as his primary medium, the fine traces left by the friction of pigment and the duration of repetitive gestures become visible. Even within the regular frameworks constructed with a ruler, unexpected variations emerge depending on the pressure and speed of the artist’s hand, leaving both calculated order and sensory marks on the surface. His paintings prioritize not the final image as a result, but the density and material sensibility that take shape through the process of making.

While painting, LIM Nosik’s (b. 1989) body is embedded in everyday scenes. However, the psychological distance from which he looks at it is either closer or further than ordinary days. The subject of his recent work is a question about how to sense landscapes. It focuses on the individual's response to it as much as on the characteristics of the physical properties of a place. The Workroom (2023) is a series of paintings of the studio desk viewed from different times and directions, almost life-sized. The foggy, blurred screen depicts the appearance of weathered memories over time. It is an attempt to capture the world vibrating in the distance of time and space by visualizing the layer of air placed between the landscape, canvas, and himself.




LIM Nosik was born in Seoul, Korea, in 1989. He received his BFA in Oriental Painting at Hongik University in 2015, and MFA in Fine Arts, School of Visual Arts at Korea National University of Arts in 2017. He has held solo exhibitions at various institutions such as Kumho Museum of Art (Seoul, Korea, 2023), Project Space SARUBIA (Seoul, Korea, 2023), Window Gallery, Incheon Art Platform (Incheon, Korea, 2020), Artspace Boan 2 (Seoul, Korea, 2020) and Hapjungjigu (Seoul, Korea, 2017), as well as group exhibitions held at ARARIOGALLERY SEOUL (Seoul, Korea, 2024), SongEun (Seoul, Korea, 2023), Ilmin Museum of Art (Seoul, Korea, 2023), Art Center White Block (Seoul, Korea, 2022), SFAC Seoul Art Space Geumcheon (Seoul, Korea, 2021), Amado Art Space (Seoul, Korea, 2020), and more. The artist gained attention for being selected in the Kumho Museum of Art and Kumho Young Artist 2022. He was the artist-in-residence at the SeMA Nanji Residency (Seoul, Korea) in 2019, and also was the artist-in-residence at the SFAC Seoul Art Space Geumcheon (Seoul, Korea) in 2021. His works are collected by institutions such as the National Museum of Modern and Contemporary Art’s Art Bank, Gyeonggi Museum of Modern Art, Ilmin Museum of Art, and more.

Lim Jimin has long unfolded her personal memories and emotions through painting. Beginning from the experience of having to let a close person go, her work reveals the moment when an abrupt shift in life makes the world appear different. Hands belonging to various people, paper airplanes, birds, and circular forms recur throughout her paintings. The circles carry both the quiet resolve to continue living despite the anxiety of someday losing someone precious, and the calm acceptance of that inevitability. The bird motifs reflect a similarly composed attitude toward an approaching farewell. As time flows and relationships change, the shifting emotions of mourning overlap and move between two realms. Following the signs embedded in fleeting scenes encountered by someone, the artist confronts what has flown away and what remains, tracing the large and small moments of loss.

Darren Bader (b. 1978, Bridgeport, CT) studied filmmaking and art history at NYU (BFA, 2000). He lives and works in New York and in transit. Bader’s conceptual hobbyhorses include: word works, pairings, impossible sculpture, misattribution, object fetishism, and trash sculptures. His exhibitions are often collaborative in nature, exploring and questioning the interconnectedness of seemingly disparate objects through complex (re)arrangements, surprise juxtapositions, and absurd associations. Institutional solo exhibitions include fruits, vegetables; fruit and vegetable salad, Whitney Museum of American Art, New York, NY (2020); (@mined_oud), Madre, Naples, Italy (2017–18); Meaning and Difference, The Power Station, Dallas, TX (2017); chess: relatives, High Line Art, New York, NY (2017); light (and) regret, Kölnischer Kunstverein, Cologne, Germany (2015); Where Is a Bicycle’s Vagina (and Other Inquiries), or Around the Samovar, 1857, Oslo, Norway (2012); and Images, MoMA PS1, New York, NY (2012). Awarded the Calder Prize in 2013, Bader has taken part in numerous group exhibitions and biennials including Apparition, PHI Center, Montreal, Canada (2021); Mirage: Contemporary Art in Augmented Reality, UCCA Center for Contemporary Art, Beijing, China (2020); the 58th Venice Biennale, Venice, Italy (2019); Stories of Almost Everyone, Hammer Museum, Los Angeles, CA (2018); .com/.cn, K11 Art Foundation Pop-up Space, Hong Kong, China (2017); One, No One and One Hundred Thousand, Kunsthalle Wien, Vienna, Austria (2016); 13éme Biennale de Lyon: La vie moderne, Lyon, France (2015); Under the Clouds: From Paranoia to the Digital Sublime, Serralves Museum of Contemporary Art, Porto, Portugal (2015); The Whitney Biennial, Whitney Museum of American Art, New York, NY (2014); Antigrazioso, Palais de Tokyo, Paris, France (2013); Empire State, Palazzo delle Esposizioni, Rome, Italy (2013); Greater New York, MoMA PS1, New York, NY (2010); and To Illustrate and Multiply: An Open Book, Museum of Contemporary Art, Los Angeles, CA  (2008).

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.


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.

My paintings are inspired by everyday scenes that come to mind. I look at moments that catch my eye or are captured spontaneously in a new light, and in the course of my work, I crop or enlarge parts of them to give them a new meaning as paintings, beyond their realistic meaning. 


 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. 

Jihye, born in Seoul in 1993, is an artist who uses photography, videography, and writing to capture the essence of everyday life. Her fascination with her surroundings began at a young age when her father gifted her a camera. Her passion for recording the beauty of mundane moments has only grown stronger over time. Jihye's art is a reflection of her belief in the power of capturing and preserving moments that are often overlooked. Through her lens, she finds joy in revealing the beauty of the everyday world, from the landscapes that she encounters to the people she meets. Her work serves as a reminder that it's often the small, seemingly insignificant details that make life worth living. Jihye's art is deeply personal, yet it speaks to universal truths that connect us all. Through her art, she hopes to inspire others to appreciate the beauty of everyday life and to find joy in the moments that might otherwise be forgotten.

Lee Mina is an artist who closely observes the instincts and habits of animals and plants, granting narrative to their inherent characteristics and shaping the wonder of living beings through a visual language. The subjects in her paintings, shaped by attentive observation, acquire distinct personalities and temperaments, taking their place as if they were individual presences. Through subtle expressions, gestures, and scenes of relationship that she carefully captures, she composes painterly structures that evoke sensations beyond the visible world.

Working primarily in painting while also engaging sculpture, installation, and picture books, her practice moves fluidly across media. Throughout her work, the pure realm of animals and plants intersects with an unknown world that humanity has yet to reach. Her works invite viewers to see familiar beings anew and to imagine the mystery and essential innocence of life.

In the field of picture books, Lee Mina has been recognized by first-generation Korean picture book artist Jaesoo Ryu and Japanese artist Seizo Tashima. She has published five picture books. Her picture books convey layered reflection and symbolism within concise narratives, achieving both visual density and emotional resonance.

ha-sunwooh explores invisible realms through painting and research, materializing inquiries in artistic practice. Since 2018, ha has been running the Vegan Art Materials Archive.

Artists