Tewaporn Maikongkeow. is the artist who hove always created magnificent orts. He 
graduoted bachelor's degree from Bangkok university and his master degree from painting. 
the faculty of painting. sculpture and graphic arts. Silpakorn University. He has exhibited 
many solo and participated group exhibitions continuously in both domestic and 
international stages such as Art Busan 2024. Art Expo Maloysia 2019. Art Fair Philippines 
2020 and Art Central Hongkong in 2019

Billy Gibney has exhibited in New York, Norwich, London, Madrid, Milan, Melbourne, Sydney, Amsterdam, and Auckland, and he approaches existing objects and scenes not simply as subjects of representation but as “mediators” that condense narrative and memory over time. These mediators expand across a wide range of sources, including the artist’s personal photographs, film stills, online auction images, and privately owned objects and souvenirs. To foreground this mediating role, Gibney treats the surface of his paintings with materials such as glass powder and wax, which metaphorically evoke stones or fossils bearing traces of time. Through this material process, his images are endowed with a sense of historicity, durability, and permanence, and his paintings emerge as crystallized condensations of the forms and scenes through which he perceives the world—visual records that directly articulate the artist’s worldview.

HYEONYOUNG KIM interprets and visualizes phenomena by substituting accidental events in life into the materiality inherent in clay.
She challenges traditional ceramic paradigms while studying the inherent potential of clay.
Unpredictable and uncontrollable elements serve as the key to completing her world of work, and just as gypsies read the meaning through the coffee powder phenomenon at the bottom of a coffee cup, she also attempts to interpret the meaning of an accidental phenomenon discovered in the course of her work.
Through this, this old material, which was considered somewhat boring or monotonous, is newly recognized in modern times.


The artist records vanished neighborhoods and landscapes, translating memory and loss into painting. The city is reimagined not as a real place, but as a layered, emotional space shaped by time and perception. What remains is a self-portrait, constructed through the memory of a city that no longer exists.

Pollawat Samidee, an artist from Silpakorn University, Faculty of Painting, Sculpture and Printmaking. He has re-ceived many awards, such as BEST INDIVIDUAL- MONTMARTRE GOLDEN BRUSH 2017, North Macedonia, and First Prize 20 17 International Art Festivals in Japan Polawat has participated in the group exhibitions Please to meet me (2023).The first solo exhibition with Number1gallery in the exhibition "IDENTITY?" (2023), and the second solo exhibition HABITUS (2024).

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.


Stripping away the symbols that we indifferently encounter daily, Kim depicts the unreadable shapes on canvas. The artist’s refusal of readily accepted norms of social symbols feels both lighthearted and romanticized in her art.

The overarching theme of JIYOUNG LEE's work is the "Human Zoo." The term is inspired by zoos, depicting facets of human life where individuals, like animals in a zoo, lose their instincts and live predetermined lives shaped by societal expectations. The black ink wash surrounding the "Human Zoo" represents artificial rocks in the zoo, symbolizing societal norms, laws, and universal conventions desired by society. While seemingly protective, these elements also confine human nature. Through her art, JIYOUNG LEE aims to portray the individuality, homogenization, desires and confusion within this enclosed space, prompting reflection on the choices individuals make in navigating their lives within these confines.

Yerin Jang has expressed her inner self through girl in the painting. She has faced herself as a being who is a mixture of memories, emotions, and expectations, and has expressed the psychological opposites that exist within her as an intersection of light and darkness, truth and lies, and beauty and anxiety. The young girl who appears in the new works can be said to symbolize the human being in the beginning, a part of pure nature embracing Mother Nature's providence. As a field of constantly changing energy, the essence of nature is the coexistence of vitality and destructive power. The vitality and destructive power of nature repeatedly circulate as starting and ending points for each other, and although contradictory, they become mutual elements of coexistence rather than opposition. Her new works further expands her previous works in that it explores the duality in the larger scale and humans as a part of nature.

POSE began painting graffiti in 1992 and in years since has expanded his vigorous career to include murals, commercial collaborations and exhibitions around the globe. He earned his BFA from the Kansas City Art Institute in 2004, and then turned his own graffiti education into a body of work blending a wealth of pop culture’s ready-made visual languages. Street signage, comics, newspapers and advertisements are reimagined through dissection, digitization and reconstitution, collectively immortalizing post-industrial moments for the digital age. POSE was named “One to Watch” by CNN in 2015, and has exhibited in the Museum of Contemporary Art Los Angeles, Museum of Contemporary Art Denver, Powerlong Museum Shanghai, Museum of Contemporary Art Chengdu, and Chosun Ilbo Museum of Art, Seoul, among others. His work is enjoyed in numerous private collections worldwide.


From 1973-76 he attended the University Witwatersrand, in Johannesburg, South Africa. He studied at the  Johannesburg Art Foundation, Johannesburg, South Africa, from which he graduated in 1978. In the early ‘80s he moved to Paris to study theater, attending the École Jacques LeCoq, and investigating acting, directing, and filmmaking, with little success. In the late 1980s he went back to art, making drawings and animated films and other films. Between 1989 and 2011, he created 10 Drawings for Projection, a set of 10 animated movies, which caused him to understand that the films were fundamental to his work. Kentridge has also directed several operas. He has been awarded The Carnegie Prize, Pittsburgh in 2000, and is the recipient of several honorary doctorates, including an Honorary Doctorate from the Royal College of Art, London in 2010.

He was Humanitas Visiting Professor in Contemporary Art at Oxford University, Oxford, UK in 2013. He was honored as a Commandeur des Arts et des Lettres.  In 2016, his solo exhibition “Thick Time” opened at Whitechapel Gallery in London. Kentridge has participated in Documenta (2012, 2002, 1997) as well as the Venice Biennale (2015, 2005, 1999 and 1993). His work is in the collections of the Tate, London, the Museum of Contemporary Art, Chicago, the Metropolitan Museum of Art and the Museum of Modern Art in New York and the San Francisco Museum of Modern Art, among many others.

Working across a range of diverse media, Tada Hengsapkul investigates the tensions between control and dissent, establishing his practice as a mode of radical resistance in itself. First reaching critical acclaim for his photographic and video works, Hengsapkul’s oeuvre has long been underscored by extensive political research. Engaging with official archives, informal discourse, and popular media, he has sharply addressed the themes of nationalism, democracy, and military control. Though grounded in political history, his works are also intimately autobiographical, often citing personal relationships and sites from his hometown in Northeast Thailand that were affected by war and authoritarian power. In recent years, Hengsapkul has pivoted towards a dynamic abstract approach, combining en-plein-air and pyrotechnic methods. Employing smoke bombs, fireworks, and gunpowder, the works allude to its materials’ centrality in global protest culture, forming provocative yet melodic imagery. Despite the variance of his chosen materials, his practices is united in their advocacy for freedom and agency. Hengsapkul’s works ultimately extend beyond their roots in Thailand and its history, maintaining universal relevance in a contemporary landscape where censorship and omission are becoming increasingly rampant.

Ryan Lee is based in New York and has held exhibitions in Chicago, Valencia, and Sacramento. The artist's work statically presents everyday spaces and flat, banal scenes. Scenes containing still life that highlight the absence of humans capture an unclear, open story as if someone has just passed by or may be approaching. It is full of the ambiguity of not knowing when and what will happen, and the production is cropped from a third perspective as if you are watching through CCTV. The work leads us to deeply observe familiar things, adds imagination and psychological anxiety, and, unlike the reproduction of everyday life, it is no longer distant from the ordinary.

NOH Sangho (b. 1986) is a natural born storyteller, sincere practitioner and bold experimenter. Browsing the Internet and social media daily, the artist diligently collects myriad images of the day to day. NOH reconstructs the fragments selected from an array of images onto carbon paper, which is a medium that represents him as an artist. The works, executed on carbon paper, reveal the artist’s unique perspective on the flexibility of the “image” in the digital era, defined by a flood of images that travel and transform freely across platforms. Furthermore, in an attempt to expand the theme of his work to realizing the three-dimensionality of images, the artist introduces a series of works in which 2D planes and 3D moving images are intertwined organically. NOH, who considers the manner in which his works are presented and consumed to be an essential part of his practice, explores various bold and experimental ways of installation, such as largescale wall hangings and drawings on hangers—reminiscent of a clothing store.


NOH Sangho was born in Seoul, Korea, in 1986. He received his BFA in Printmaking at Hongik University in 2013, and MFA in Fine Arts at Seoul National University of Science & Technology in 2022. He has held solo exhibitions at various institutions such as ARARIO GALLERY SEOUL (Seoul, Korea, 2024), ARARIO GALLERY SHANGHAI (Shanghai, China, 2023), ARARIO MUSEUM in SPACE (Seoul, Korea, 2018), SongEun ArtCube (Seoul, Korea, 2017), and SeMA West Warehouse (Seoul, Korea, 2016), as well as group exhibitions held at Ilmin Museum of Art (Seoul, Korea, 2023; 2018), ARARIO GALLERY SEOUL (Seoul, Korea, 2023; 2021; 2016), Isetan The Space (Tokyo, Japan, 2022), ARARIO GALLERY CHEONAN (Cheonan, Korea, 2021), Atelier Hermès (Seoul, Korea, 2020), Daegu Art Museum (Daegu, Korea, 2019), SongEun ArtSpace (Seoul, Korea, 2018), Kumho Museum of Art (Seoul, Korea, 2017), National Museum of Modern and Contemporary Art (Gwacheon, Korea, 2017; 2014), and more. The artist gained attention for being selected in the National Museum of Modern and Contemporary Art's Young Exploration 2014. He was the artist-in-residence at the SeMA Nanji Residency (Seoul, Korea) in 2015, and also participated in an artist residency exchange program between Hungary and Korea (Budapest, Hungary) in 2016. He won the Lee Sang Wook Prize (Korean Contemporary Printmakers Association, Korea) in 2016. His works are collected by institutions such as the National Museum of Modern and Contemporary Art’s Government Art Bank, Koo House Museum, ARARIO MUSEUM, and more.

oo Young Choi(b.1993, Korea) works from a place of deep agony over the notion that ideas branching out from the root of the “I” must inevitably exist in the context of relationships with the other. Choi expresses this idea as a faceless “black dot,” a character that represents the artist’s thoughts — along with those of many others in modern society. Containing both the stability of belonging that comes from a uniting, intertwining crowd as well as the unavoidable sense of isolation that occurs in any relationship, the duality of the “black dot” is sure to strike a chord with anyone living in the present era. Individual yet multiple, unfamiliar yet comforting, the “black dot” speaks to us all.

Panchat Yodmanee
b.1993, Nakhon Si Thammarat, Thailand

Panchat Yodmanee (Ice) graduated with a Bachelor’s of Fine Arts Degree, from the Department of Thai Art, Faculty of Painting, Sculpture, and Graphic Arts at Silpakorn University.  She is currently pursuing her Master’s of Fine Arts Degree from the Faculty of Painting, Sculpture, and Graphic Arts, also at Silpakorn University.

Yodmanee unveils layers of meaning hidden within the simplest of elements. Through her art, she captures the essence of abundance and tranquility, finding beauty in the ordinary simplicity of soil. Yodmanee's contemplation of a lump of earth reveals a truth of reality that resonates deeply with viewers, evoking a sense of powerful serenity akin to a floating mass soaring through boundless skies.
Her work serves as a vessel for introspection, plunging spectators into a realm where dreams and reality intertwine. Like one of her works, the image of the brave white horse symbolizes themes of freedom, strength, and a timeless connection with nature. Through Yodmanee's art, viewers are invited to transcend the constraints of time and space, exploring the depths of their subconscious minds and discovering profound truths thatresonate across generations.
The artist has also received numerous awards, including the 3rd Prize, The 67th National Art Exhibition in 2022, the Gold Awards, Established Artist Category 12th UOB Painting of the Year, and 1st Prize, Bualuang Gold Medal, Contemporary Painting Category, 39th Bualuang Painting Contest, Bualuang Foundation in 2017.
Her selected and recent solo exhibitions include: "Somewhere in the blue heart," Galerie Sarto, Paris, France, 2023; “A little letter from somewhere someone,” Process-passion, Galerie Sarto, Paris, France, 2021. Selected group exhibitions include: “TBC,” Tang Contemporary Art, Bangkok, 2024; “Echoes of Beauty,” Iconsiam, Tang Contemporary Art, Bangkok, 2021; “Time-Lapse: Reflecting on Thai Art,” 333 Anywhere Art Gallery, Bangkok, Thailand, 2021; “Particle,” Joyman Gallery, Bangkok, Thailand, 2018.

Driven by a permanent quest for innovation and meaning, Gehry has designed many major buildings over the last forty years, mainly in the United States and Europe. Notable among them is his residence in Santa Monica, which served as his manifesto, the Guggenheim Museum in Bilbao, the DZ Bank Building in Berlin, the Walt Disney Concert Hall in Los Angeles, the IAC Building and the New York Tower.  In 1989, Gehry was awarded the Pritzker Architecture Prize. At the time, the jury praised Gehry, stating: “Always open to experimentation, he has as well a sureness and maturity that resists, in the same way that Picasso did, being bound either by critical acceptance or his successes.
His buildings are juxtaposed collages of spaces and materials that make users appreciative of both the theater and the back-stage, simultaneously revealed.” In 2006, Gehry was the subject of a Sydney Pollack documentary, Sketches of Frank Gehry. Vanity Fair magazine ran a cover story labeling him “the most important architect of our age.”

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.

Zhu Jinshi, born in 1954, is a pioneer of Chinese abstract art and installation art. He began to create abstract paintings in the early 1980s and moved to Berlin in 1986. Since then, he has been experimenting with performance, installation, and conceptual art. In 1994, Zhu returned to
China, dividing his time between Berlin and Beijing until 2010. At present, he lives and works in Beijing.
Looking back at Zhu Jinshi’s art practice over the past forty years, abstract painting and conceptual installation are two practices that parallel each other while sometimes being confrontational. Zhu started his career with abstract painting, but while his installation practice stands alone from his
painting practice, it has also inspired new forms of painting. Only when the two are viewed together can the striking aesthetic value of Zhu’s works be touched.
Zhu Jinshi’s paintings were first influenced by modernism. Three of his works were exhibited in China’s first avant-garde exhibition, the Stars Group Exhibition, in 1979. As one of the first Chinese artists to create abstract art, Zhu initially experimented with random brushstrokes and
limited colour to create abstract paintings. He gradually developed his unique “thick painting” style that he still uses today, which is usually applied with heavy colour and thick paint.

Kittisak Thapkoa was born in 1989. He graduated from faculty of fine arts, Silpakorn University. He expresses the story in terms of realization and awareness of morality. Buddhism is the religion that teaches humans to be able to perceive the truth of the world. Humans cannot get away from birth, aging, suffering and death. 

He has participated in group exhibitions both in Thailand and abroad(USA). He even received the art awards from Toshiba “Brings good things to life” art competition in 2005, 2007 and 2011. The second award National arts by Bangkok bank and the winner of Bualuang 101 art contest in 2012. Moreover he is accepted from global collectors, Art state Singapore in 2016, Art state Jakarta in 2017, and Art expo Malaysia in 2018.

Born in 1990, Buwon had a profound interest in toys, play, and street culture from an early age. While studying industrial design at university, he became deeply immersed in 3D tools and created a rabbit character as a motif of himself. Buwon began to build his career as an artist, creating paintings and art toys.
 
Buwon wishes to convey messages about the journey of life and personal growth through his artistic expressions. His lovely rabbit character is the portrait of the artist himself, inspired by his childhood nickname. Behind the image of an adorable rabbit lies a cynical concern, intertwined with the artist's life. The artist draws inspiration from various experiences, conveying messages that encompass both positive and negative emotions, which include happiness, joy, anxiety, and fear.
 
Buwon comprises two distinct forms of art: paintings and art toys. The artist creates digital sketches before transferring them onto the canvas using acrylic paints. He often incorporates unique materials like fur or modifies canvases and panels to enhance his artistic expression and creativity. When it comes to his art toy production, he primarily focuses on creating the rabbit character. He first creates digital sketches and then builds their form through 3D modeling.
Once the design has been completed, he prints out the outcome using a 3D printer and carefully paints and finishes the toy.
 
Buwon has previously collaborated with renowned brands such as Hyundai Motor, Simmons, MCM, SJYP, Giordano, Line Friends, Nike, Asics, and artist Code Kunst. The artist is constantly expanding his artistic boundaries by holding exhibitions in different regions such as Las Vegas and Jakarta.

Language is the very basis of David Douard’s work. The texts and poems he collects on the Internet are manipulated, transformed in order to become a vital flow, feeding into his sculptures. Through language as an ingredient, David Douard redefines space as hybrid and collective by injecting anonymous, chaotic, deviant, ill and frustrating poems in it. As he recreates an infected environment where the real world used to be, the fantasy brought by new digital technologies expands.

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.

Help!

Symposia

Autonomic Drugs 1250_R(16pieces)

Autonomic Drugs 980-1250(9pieces)

Autonomic Drugs 1250_Y(16pieces)

Autonomic Drugs 1250_B(4pieces)

Say yes to peace

Back Up

Love

Not a freak

Friend of Dorothy

어떤 도시조각

여기는 blue

내 우주는 돌고 돌아서

Shade of Flowers 1

Shade of Flowers 2

A mental friend

Quiet within the pages

His back 2

A Thinning Path

Eclipsed Signal

Flat-Shaped Heart

Zone of Illusion

Blue, Tone, Stripe

A Pale Staining

Signs Beneath Each Step

Like Tetris! 4

Hellrosa

Drawn in Circles, Still Flat 2

()90°x10

Globular Heart

Wavering Signs and the Rainbow Bands

Ponds in the Rain

Divided Zones/Walking Drawing

Meandering Path

Chung

Rebent Right Angle

A Landscape Where Signs Fall

Rainbow Bands 2

Taobmaets

Steamboat

Periphery of the Rainbow Band

At the Verge of Watery Blur

Drawn in Circles, Still Flat

Flow of the Rainbow Bands

Encircling Band Within

Green Bends

International Dream

CHOICE

People who try to balance without much strength 1

Animal house - The swan mask

People who try to balance without much strength 3

People who try to balance without much strength 4

HER HISTORY

Our 4

Our 3

Our 2

Our 1

forest stage II

Path 1

Grasp 1

Path 3

Path 2

Unremember Me

Moving Up But Still Looking Down

Wall in Vermont

How Can I Not Believe in God?

THE GREAT CHAPBOOK 3 - Mickey

Scene 22

The Windows Open and The Night Grows Late

Facing Each Other #1

The Wing of Dream 22052024

Silent

Still

Frank Gehry, Catalogues Raisonnés ﻿of the drawings, Vol. 1

January

April

July

October

Birds Flying Back to the Mountains

The Era of Drifting Away

Asian Wind No. 1, 2, 3

Ink Lotus in Autumn Rain

Accidental Aesthe6cs No.3

World Truth , World suppose

Truth

See Life, See The World

World Truth

Self-portrait 1

People Who Make Me Sad

Mass

Masses

Flowers That Bloom in Summer

Dogs

Estrogen

Estrogen 02

Knockout 1

Knockout 2

Knockout 3

Knockout 4

Knockout 5

Nirvana

Rainy Season

ROUND 1

ROUND 2

ROUND 3

ROUND 4

ROUND 5

ROUND 6

Teardrop Blossom

Testosterone 01

Testosterone 02

Yongbigyo Romance

ROUND 7

ROUND 8

ROUND 9

ROUND 10

ROUND 11

ROUND 12

ROUND 13

ROUND 14

ROUND 15

ROUND 16

Self-portrait 2

Self-portrait 3

Sisyphus

UN’FOLD

Beyond the Surface:  Blooming Truth

Beyond the Surface: Eyes of Truth

Beyond the Surface

Artists