Seo Yewon reconstructs invisible sound into a visual order. Arranging objects on hanji as if notating them in a score, the artist builds an auditory structure within painting. Sonic images—such as musical instruments, explosions, and elements of nature—take form as ordered visual elements through precise depiction and restrained composition, capturing and fixing the moment when intangible sound becomes visible within the image.

Leem Jaeyeon’s paintings express the suppressed and concealed archetypal desires and illusions of humans through mythological motifs. Based on an exploration of human primal instincts, his works reveal desires and the resulting illusions through a methodology that oscillates between figuration and abstraction.

Blake Daniels, born in 1990 in Cincinnati, Ohio, is an artist known for his unique blend of figurative and abstract art. Working between New York and Johannesburg, Daniels has a rich artistic heritage and developed his passion for art early on. With a Master of Fine Arts from the University of the Witwatersrand and a Bachelor of Fine Arts from the School of the Art Institute of Chicago, where he received the Edward L. Ryerson Fellowship, Daniels employs various techniques, including traditional oil painting and mixed media. His works explore themes of intimacy and human connection, portraying intricate interpersonal relationships set against mystical backdrops, creating an intimate, enchanting atmosphere for the audience.

Yerang Hwang depicts the contradiction and compassion of the familiar world. After receiving a master's degree in Korean painting from Sejong University, she broke down the boundary between western and oriental paintings, and reinterpreted oriental artworks from her own perspective. Concerned with the categories and medium of Korean painting, the artist experiments with several display approaches. Through the appearance of contradictory materials, visitors are prompted to consider the two opposing feelings, and the artist's vision of the world is depicted through the capture of everyday life. 

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.

Michal Korman (b. 1987) began his art education at the age of five when the Slovak academic painter Jozef Jelenak (working in the tradition of expressionism) admitted him to his courses for children at the school of art in Korman’s hometown, Partizanske. These classes formed his artistic
foundations over a period of three years.In 2005, Korman manifested his specific style: a combination of graphic like oil painting branded with his signature as a logotype.

Lee Ufan is a South Korean artist and art critic born in 1936 in Haman-gun on the southern Korean peninsula, then part of the Japanese empire. He moved to Japan when he was 20 years old, and developed a practice anchored in an Eastern understanding of the nature of materials together with an appreciation of modern European phenomenology. In 2009, the Japanese government honored Lee by conferring the Order of the Rising Sun for “contributing to the development of contemporary art in Japan.” In 2010 the Lee Ufan Museum, designed by Tadao Ando, opened at Benesse Art Site, Naoshima, Japan. Lee has had major exhibitions worldwide, including a retrospective at the Solomon R Guggenheim Museum in New York City in 2011. In 2014, he was selected for the contemporary art program of the Palais de Versailles, and in 2019 the Hirshhorn Museum and Sculpture Garden in Washington DC commissioned a site-specific installation for the museum’s plaza. Lee divides his time between Kamakura, Japan and Paris.

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.

Yun Taein’s practice can be understood as an exploration of how soft and fluid materiality shifts into the language of structure and form. Taking materials such as clay and sponge—substances that respond sensitively to external pressure and contact—as her point of departure, the artist attends closely to the moments in which the movement of the hand, the resistance of the material, and the incidental traces produced in the making process become layered and accumulated. Impressions, curves, smudges, and tears left on the surface are not treated merely as by-products of process, but as formative clues that anticipate the structure of the work to come. In particular, organic forms that emerge in a pliable state are later transferred into materials of opposing character through processes such as metal casting or wood carving, allowing the traces of softness to become newly embedded within hard and solid matter. In this way, Yoon Taein’s work delicately reveals the moment in which one materiality is translated into another, traversing sensation and structure, pliancy and solidity, accident and construction. While her furniture and objects reference functional forms, they do not remain confined to the realm of utility; instead, holding within them the residue of sensation and the memory of material, they invite reflection on the sculptural potential inherent in softness.

1996 Born in Fukuoka.
Influenced by anime and manga culture during boyhood. In 2017, he started working as an illustrator based in Fukuoka. He creates and presents his works in digital and analog formats. The female with characteristic ennui expressions are a projection of the artist's own inner self.

Thai contemporary artist residing in New York City, Berlin, and Chiangmai, Thailand.[2] He was born in Buenos Aires, Argentina in 1961. His installations often take the form of stages or rooms for sharing meals, cooking, reading or playing music; architecture or structures for living and socializing are a core element in his work.

Sung Neung Kyung (b. 1944-) is a prominent Korean conceptual artist whose works embracing nontraditional mediums such as newspaper, photography, and performance broke the ground for experimental art in Korea. Sung debuted in Korea’s art scene in 1973 as a member of the avant-garde art group ST. Until the late 1980s, he showcased newspaper-related installations and performances challenging government censorship of the media and the press’ misuse of editorial power. Also, he was among the first artists in Korea to use photography in the context of fine art in the 1970s. 

Sung Neung Kyung’s daily practice of art has escaped critical notice, yet like the mosquito he has been active for much longer and his influence is felt more widely than many realize. Sung’s conceptual actions, documented through photographs and performance artifacts, reflect his decades-long interest in everyday moments of exchange between people in a social context. The exhibition “Contraction / Expansion” reflects the artist’s ongoing interest in daily actions that become iconic when isolated within the context of the art work. “Contraction is what the people in power wanted and expansion is what the people under control wanted,” Sung explains. These small gestures create a “mosquito noise” by activating everyday elements of behavior into a resonant, politically charged buzz. 

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.

Maverick Abac's practice explores painting and collages on various media as a reflection of his consciousness and upbringing. Navigating the realm of memory, his works are known best for their pop surrealist meditations of our individual and collective psychological experiences.

Latthapon Korkiatarkul creates minimal works of powerful subtlety, using abstraction as grounds for fluid subversion and projection.  The artist’s process completely detaches from the conventional structures of drawing, painting, and sculpture: supporting elements such as walls or pedestals become the focal crux of pieces, as do humble materials like graphite and paper. Similarly, the artist distils and reverses sequences of production, at times painting on the reverse of canvases or soaking paper in oil before turning to colour. He negates compositional hierarchy and grandeur, even including seemingly inconsequential remnants from his methodology: the works reveal stray traces of paintbrush hair, cat fur, pencil shavings and dust, and the artist even imagines the light and wind in his studio as  factors behind his visual language. Embracing the totality of his artistic process, Korkiatarkul constantly negotiates the human conceptions of value within and even beyond art. Through laborious transformation and redefinition, he meticulously questions the social construction of objects. The artist quietly calls for introspection in presenting such signature visual voids. As if existing in a vacuum of thought, Korkiatarkul renounces any complex contextual baggage, summoning his viewers to instil their personal quests for knowledge and liberation onto each of his works.

Kohei Nawa is a multidisciplinary artist whose diverse practice explores the perception of virtual and physical space and examines the relationship between nature and artificiality, and between the individual and the whole, illustrating how parts aggregate together, like cells, to create complex and dynamic structures.

Henri Matisse was a French visual artist, known for both his use of color and his fluid and original draughtsmanship. He was a draughtsman, printmaker, and sculptor, but is known primarily as a painter. Matisse is commonly regarded, along with Pablo Picasso, as one of the artists who best helped to define the revolutionary developments in the visual arts throughout the opening decades of the twentieth century, responsible for significant developments in painting and sculpture. The intense colorism of the works he painted between 1900 and 1905 brought him notoriety as one of the Fauves (French for "wild beasts"). Many of his finest works were created in the decade or so after 1906 when he developed a rigorous style that emphasized flattened forms and decorative patterns. In 1917, he relocated to a suburb of Nice on the French Riviera, and the more relaxed style of his work during the 1920s gained him critical acclaim as an upholder of the classical tradition in French painting. After 1930, he adopted a bolder simplification of form. When ill health in his final years prevented him from painting, he created an important body of work in the medium of cut paper collage. His mastery of the expressive language of color and drawing, displayed in a body of work spanning over a half-century, won him recognition as a leading figure in modern art.

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