Jiyoung Yoo studies artificial orders and systems that are found in everyday life, and the history of objects that belong in such system. As a subject of painting, the artist observes and collages various forms of objects such as eggs, water cups, manuscripts, calendars, and clocks that are often categorized as one unit or assembled as a bundle. This unique practice highlights the idea of relations in paintings. Visually intersecting and yet limiting the conditions of systems that each object has, the variations that the artist depicts present a new perspective in her own language.

Wasinburee Supanichvoraparch, born in 1971, is a Thai artist based in Ratchaburi known for his innovative approach to ceramics, along with his work in photography, sculpture, and public art. A graduate in Fine Art with a ceramics major from Universitaet Gesamthochschule Kassel in Germany, he combines his expertise in traditional ceramic processes with a fascination for the uncontrollable elements that influence artistic outcomes. This theme of unpredictability, often portrayed with subtle humor and irony, runs throughout his diverse works, which challenge viewers’ perceptions of reality and the surreal. As the owner of Tao Hong Tai Ceramic Factory, Wasinburee’s practice is deeply connected to his family’s ceramic heritage, yet his contemporary approach has helped reshape Thailand’s ceramics scene.

Beyond his individual art, Wasinburee has had a lasting impact on the Thai art community. He founded d Kunst art center and launched Art Normal, Ratchaburi’s first public art event, promoting art accessibility and community engagement. His contributions have earned him prestigious awards, including the Wattanakunathorn Award and the Silpathorn Award for Design. His works are part of esteemed collections worldwide and have been exhibited internationally, including at the Venice Biennale, Singapore Art Museum, and Bangkok Art and Culture Centre. Wasinburee’s commitment to accessible, sustainable art continues to inspire Thailand’s art scene, positioning Ratchaburi as a vital cultural hub.

Hyundoo Jung gathers subjective conversational language by accumulating brushworks that show the physicality of the senses that arise from the inside. After graduating from the Department of Painting at Hongik University, the artist earned a master’s degree in the Department of Fine Arts at the Seoul National University of Science & Technology and was a resident artist at the Gyeonggi Creation Centre. His paintings reflect the trajectory and substance of the human body, while also being hospitable and evoking a distinct feeling. He repeats the process of his works by reacting intuitively to the colours and images formed by the improvisational movement and the state and concentration of the paint application on the canvas. The image of the stacked layers on the screen exposes a spectrum of colours and the artist’s sensual judgement. Hyundoo Jung also gradually makes the chroma heavier while adding a sense of density of colour. He treats the entire screen of his painitngs as a result of complete abstraction and sensation, as if it were directed from the surface to another kind of space. 

Alum Lee uses patterns commonly found in the fashion industry, such as dots, stripes, and checks, to move between flatness and illusion, distorting the screen, and revealing flatness through pictorial traces. Through this, she evokes latent data about space, deconstructing and recombining them once again, overlapping layers to produce complex processes of work.

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.

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.

Wada Chizu liked to draw from an early age, but learned to draw by self-taught against her parents' 
opposition. She started serializing her paintings on the Internet in 2009, and made her debut as a cartoon artist in 2014. Since then, she has been actively working in various art scenes such as publications, exhibitions, and art fairs, expanding the scope of her creation through painting. 
The paintings contain a wide range of themes: humans and animals, me and the outside world, and 
relationships. In recent years, the artist has been focusing on acrylic canvas paintings, but before that, she used to draw manga and illustrations. In the new works presented in this exhibition, she again used the pen, which was the main medium of her work. To her, new works simultaneously mean a return to the roots of her work and an exploration of new styles. In the painting, ‘I’ wear animal clothes. Costumes are a way to protect herself in relationships and an act of allowing her true inner self. That place, different from reality, is another form of self-expression.

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.

Sculptor, performer, photographer, architect, curator and blogger, he is known internationally for his provocative and political art. He is an opposition figure to the Chinese government and an emblem of freedom of expression in China, openly criticizing the Chinese government’s position on democracy and human rights. Ai was among the first generation of students to study abroad following China’s reform in 1980, and lived in the United States from 1981 to 1993, attending the Arts Students League of New York, the University of Pennsylvania and the University of California, Berkeley.

After extracting the narrative structure of various stories, the artist reconstructs the events and reproduces the images to seek discourse with contemporary narratives. By removing or reconstructing the direct object of the event, the artist attempts to emphasize the essence underlying the narrative to create a dialogue with the audience.

『Patchwork』 series presents the theme of ‘corporealization’ as the counterpart of ‘nation’ and ‘body’ as the constitution of the world. From the Frankenstein-like figure of the combined ragged giant to the cyborg combined with mechanical devices to assist the body, from the small screen to the large screen combined with multiple screens, the evolving or expanding life reflects the state of war of all against all: “Man’s selfish nature to protect himself inevitably shapes the form of a powerful force to realize it”. The main forms (and the result of various agreements) of the entries, such as replacement, substitution, assembly, combination, and expansion, are presented as a body and a state (the mortal god) formed in this state of struggle, and through the exhibition, they come together to form a world.

REACH, born in 1981 and based in Kaohsiung, Taiwan, began his graffiti journey in 1995. He founded SOUL SKOOL, the first graffiti crew in Taiwan, and has worked with numerous internationally renowned brands. Early in his career, he actively participated in artist residencies and international art festivals in the US, Canada, France, Australia, the Netherlands, Japan, China and more. 


Tarntara earned her bachelor's degree in painting, sculpture, and graphic arts from Silpakorn University in 2014. Her art is stylized in a pop-surrealist style and presented with oil painting techniques. The softness of her brush strokes is a standout feature of her work, demonstrating high-level painting abilities. Her artwork is frequently influenced by her own intense emotions, childhood memories, dreams, and surreal fantasies. Tarntara is captivated by women's unique beauty, as well as Eastern culture and ideology expressed in a contemporary style.


Gungho - An artist with a collection of young collectors in the US, China, Taiwan, and Japan. He has incredible skill, working in a way that leaves no brushstrokes on the artwork.

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.

Tom Howse uses humour to explore the balance between realism, fantasy and our desire to know and our inability to comprehend. The artist reconstructs the hierarchy of living things and invites the unstable reality into the comfortable setting of a personal living room.

Graduating with honors in Fine Art from UiTM Malaysia in 2013, Husin Othman, known as Sean, has rapidly established himself as an emerging talent in the Malaysian art scene. Hailing from the rural villages on the outskirts of Perak, his upbringing with seven siblings and a free-spirited childhood heavily influence his work. Sean’s art often explores the essence of Malaysian identity and traditional Malay culture, rekindling nostalgic memories of lifestyles and values that are increasingly overlooked in modern times. His skillful techniques and strong grasp of figuration have made his work stand out, evoking a deep sense of connection and familiarity for Malaysian audiences.

Sean's achievements include winning the UOB Painting of the Year award in 2014 as the Most Promising Artist (Emerging Artist category) in Malaysia, which has greatly bolstered his reputation in the local art scene. Through his reflections on Malaysian rural life, he offers viewers an intimate perspective on cultural heritage, inspiring a renewed appreciation for local traditions. Sean's art not only preserves these memories but also fosters a dialogue on the value of cultural continuity, making him a key figure among a new generation of artists dedicated to capturing the spirit of Malaysia.

Sahapap Lertsamatijit holds a bachelor's degree from Silpakorn University. He has participated in solo exhibitions with Number1Gallery Formation of Nightmare (2022), Reflections of a nightmare (2024), I AM ORIGINNAL 3 (2019), Begin Again (2020), Hotel Art Fair 2022, and participated in the international stage Art Busan 2023.

Benedikt Hipp(b.1977), who studied at the Munich University of Arts in Germany, the University of Bologna in Italy, and the Academy of Bildenden Künste Nürnberg in Germany, has participated in internationally renowned exhibitions. These include the Wilhelm-Hack-Museum Ludwigshafen (2015), Kunstverein Bielefeld (2010), Kunst Palace Erlangen (2012), Art Babe Statement (2009), and Art Babe Statement (2009). He has also taken part in collaborative events like Musée d'Art Contemporain Bordeaux in 2012 and Kunstverein Hannover in 2012.
In 2020-21, he was awarded the prestigious "Roman Award Fellowship" at the German Academy Villa Massimo, one of the most distinguished artist awards in Europe. He currently resides and works in Munich and Rome, Germany, within the European context.


Day-Hour-Minute_3 hours 20 minutes

8:00 AM

Day-Hour-Minute_20 Hours 40 Minutes

Day-Hour-Minute_16 Hours 20 Minutes

Long-Distance Relationship_Wish You Were Here

Day-Hour-Minute_18 hours

Day-Hour-Minute_A Day

the ocean

March

April

June

Tic-Tac-Toe

8:00 PM

A Paradoxical Talk 1-2 

Birds, Trees, and

얼굴로 그린 그림 2

반짝 반짝

풍경

19.10.30-12.19

20.10.22-21.02.03

새나무

20.08.21-08.30

얼굴로 그린 그림 1

Untitled

얼굴로 그린 그림5

왼쪽으로-얼굴을 던지는 사람 1

빛나는 얼굴

돌머리

오른쪽으로-얼굴을 던지는 사람 1

19.06.27-20.02.19

Face of the Sun and Moon

19.08.10-12.19

토끼잡는 사람

19.10.30-20.01.02

Forest and Body_Mass

2018-19.12.06

Ginghamchck pattern

Dot pattern

Chasing Mouth Corners

A Stone’s Tomorrow

At the Edge of Sight

A Gap in the Daylight

Books

Growing 1031-1087

Crystal 2018–3

Crystal 2016–8

Ai Weiwei, Revue

Brain Inflation

Zodiac Dragon

Revolt

Reflection RO_25_3

Reflection RO_25_12

Reflection FO_25_3

Reflection FO_25_2

Reflection RO_25_15

F4.2 [Architectural Plan No. 2]

D1 [Blue Prison]

Patchwork golem

Quieted head

Combined dragon

Competing heads-Hydra

Break 04

Break 03

Break 02

Gate of the Mind

Cloud Girls

Where is the exit?

Together

crown leisure no.2

crown leisure no.3

crown leisure no.5

PWPOTH (Beryl)

Orchestrating Vulnerability

PWPOTH (Max)

PWPOTH (Loretta)

PWPOTH (Peter)

PWPOTH (Dina)

PWPOTH (Anni)

Heads with pigeon

Pears

Pear on head

Fruit Plate

Cactus In A Green Pot

Refracting Perspective

The cursed

Neonatal Refractions

Extension

Discovery

Exhibitions

3D On View

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