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. 

The nature in Jaewon Jung’s paintings encompasses not only nature, which grows on its own without human touch but also nature that has been changed and catered for human preferences and desires. To her, nature is not just an object of contemplation or nostalgia for the lost landscapes, but something that incorporates time, memories, desires, new environment, and experiences that transcend beyond the visible spectrum. Nature continues to change in the past and present, reflecting the relationship between individuals and society, nature and humans, and appears in the most ideal form of that era. As we go back and forth between what's real and what's ideal, we reflect on changes in our perception of nature and ask ourselves what is “true” landscape painting in this era. Beyond realistic and illusory descriptions, she is trying to reproduce nature more sensibly.

Sakhai received her Bachelor’s in Art History and Fine Arts from Hofstra University, and currently serves on the advisory board for the College of Liberal Arts and Sciences. She received her Masters in Fine Arts from the Academy of Art University and has studied internationally including d’Arts Plastique I Disseny (LLOTJA) in Spain. Additionally, she has taught art at the University of California, Berkeley. Her paintings are exhibited in galleries around the world including Tokyo, Ibiza, Miami, Carmel-By-The-Sea, Berkshires, Dallas, and New York City. Her art remains in both private and public collections including the Montefiore Einstein Medical Center, The Fairmont Hotel in San Francisco, and Kamakura Park in Japan. Sakhai's work has been exhibited in Universities including Stanford, Michigan Medicine, The Academy of Art, Hofstra, and Mary Hardin-Baylor. She recently published her first book titled ‘Awakening’, a compilation of 200 of her paintings.

Marionne Contreras (b. 1992) is a visual artist based in Manila, Philippines, with a current emphasis on fiber and fabric based works. Her works are diaristic, often with themes of memory, its persistence, its purity, and its vulnerability to tampering, with constant undertones of womanhood, consistently taking the role of the female as narrator; taking visual inspiration from textures and forms found in nature while maintaining an aesthetic that leans towards the synthetic.

Highly aware of the universality of the personal, her works often carry intimate personal narratives despite her conscious decision to highlight their ornamental nature – to always stage them as a tableau of beauty given the parameters in which the very idea of “the beautiful” is meant to work.

She has been actively exhibiting in The Philippines. Her most recent one-person exhibition, Poetry has left me, has concluded last 10th of November, 2023 in Vinyl On Vinyl Gallery, Makati City, Philippines.

Born in Seoul in 1988, Jaeyeon Yoo received her B.A. in Western Painting from Ewha Womans University and her M.F.A. in Painting from the Royal College of Art, UK, and has been working between Seoul and London. She builds landscapes in which everyday life and fantasy coexist, focusing on the time and place of 'night' to unravel the large and small events of everyday life and the individual's imagination and thoughts that originate from these events. She expresses the ambivalent aspects of the world in her paintings by nostalgically visualizing her childhood experiences and memories, and introducing disturbing situations or unclear objects. Through the subtle emotions generated by private memories and fantasies, she aims to draw attention to the 'gap' between the dual worlds of society and the individual, past and present, phenomenon and reality, fear and dream, inner and outer, existence and perception, etc. 
The work Night Walker expresses a dual state of isolation and freedom through the depiction of the landscape of the "blue night," sensed via the light that manifests in the darkness—such as the moon, meteor showers, and the screen of a mobile phone. It captures the figure of a solitary night walker on a late-night stroll.



Nor Tijan Firdaus (b.1986) is a Malaysian contemporary artist recognized for her innovative approach to mixed media art. With a background in Fine Arts, she has a keen focus on sustainability and environmental awareness, often using electronic waste as her primary medium. Her work reimagines discarded technology, transforming it into intricate art pieces that challenge the traditional definitions of beauty and value. This distinctive use of e-waste not only reflects her technical skill and creativity but also raises awareness of the environmental impact of consumerism, establishing her as a unique voice in the Malaysian art scene.

Tijan’s impact extends beyond her exhibitions, as her work has sparked conversations on sustainability in art and broader society. She has gained recognition through awards, notable exhibitions, and collaborations with environmental organizations, positioning her as a prominent advocate for eco-conscious art in Malaysia. Her influence has inspired a new generation of artists to consider the environmental implications of their materials, marking her as a pivotal figure in Malaysia’s evolving art landscape. Through her work, Tijan has contributed to a growing discourse on sustainability in art, bridging contemporary creativity with pressing environmental concerns.

Rukkit Satapornvajana, born in 1978, is a graphic designer and street artist. He graduated with a bachelor’s degree in Art Education from Chulalongkorn University, and started painting on the streets in 2011 by applying stencils in a colourful and geometric style.

A water droplet hovers, suspended in the moment just before it falls. Artist Yoo Choong-mok captures this precarious instant, freezing it within space through the materiality of glass. This moment—poised on the brink of vanishing—is never static; it shifts and transforms with the interplay of light, gaze, and movement. Rather than explaining the subject, his work reveals the very moment when our senses are awakened. At the intersection of water droplet, glass, light, space, and the viewer’s own movements, the work emerges as a singular scene. As viewers pass through, they find themselves slowing down, if only for a brief moment.

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.

Lee Bae focuses on the expressive potential of charcoal as a medium. Over the course of three decades, Lee has dedicated himself to creating a diverse range of iterations of Korean painting through his use of charcoal and abstract forms that are self-sufficient and rich in spiritual and energetic qualities. By exploring immanent notions such as yielding, respiring, and circulation, which are embodied by charcoal as a material, Lee's work resonates with themes of life and death, absence and presence, light and shadow, form, and emptiness. Lee's oeuvre spans a wide range of mediums and forms, from drawings to canvas-based works, as well as installations, with each new work serving to expand upon his unique vision and approach. Lee’s works have been featured at museums and institutions worldwide including: Phi Foundation, Montreal, Canada; Indang Museum, Daegu; Wilmotte Foundation, Venice; Fondation Maeght, Saint-Paul de Vence; Musée des Beaux-Arts, Vannes; and Musée Guimet, Paris. Among many others, Lee’s work is in the permanent collections of museums including the National Museum of Contemporary Art, Gwacheon; Seoul Museum of Art, Seoul; Leeum-Samsung Museum of Art, Seoul; Fondation Maeght, Saint-Paul de Vence; Musée Guimet, Paris; Baruj Foundation, Barcelona, and Privada Allegro Foundation, Madrid.

08AM’s Survival Report does not approach survival as a matter of experience, but understands it as a formal and structural movement through which existence sustains itself within the world. Through lines, planes, and their arrangement, the artist explores how forms are adjusted, reconfigured, and secured for continuity, presenting the canvas not as a finished image but as a structural process for contemplating duration.
Rather than reproducing a specific narrative or evoking particular sensations, Survival Report focuses on visualizing the operational principles of the forms that existence selects in order to preserve itself. The work reveals these operations almost as a diagram, functioning as a philosophical model that invites viewers to reconsider the structures upon which their own modes of persistence are built.

He is an artist who moves between painting and installation, visually interpreting the remnants of the city and fragments of memory. Using materials such as acrylic, resin, and recycled elements, he explores layers and transformations of texture, creating works that evoke the process of urban walls being repeatedly painted over and peeled away.

Su Xiaobai, one of China’s most distinctive painters, was born in 1949 in Wuhan, Hubei province, China. 
Su Xiaobai has developed a sensuous yet rigorous art that defies classification, and yet whose own chosen medium, lacquer, is steeped in Chinese history. Su’s works are both hedonistic and mystical, defiantly sculptural while exquisitely painted. Ranging from shell-like finishes to sensuous, curved profiles and abraded textures, they exist entirely on their own terms, possessing their own history, character, and independent existence. Rather than depict other objects, his art engages with the
idea of being itself. At its centre, Su’s work uses the visual language and context of art to embody issues that are both philosophical and, at an everyday human level, universal.

Mr. OGAY is a street artist from Taiwan, and is a self-proclaimed angry youth filled with love. He has been invited to Japan, China, New York, and more, for graffiti projects. His graffiti art motif mostly features a naked man who is under-dressed. Since stepping into the world of graffiti in 2000, his work has saturated walls all over Taiwan, and he consequently sets the record as the most frequently reported artist in Taiwanese history.


SONG is a graffiti artist from Changhua, Taiwan, and a core member of the street art collective FLOW DOWN. His work fuses the visual language of graffiti with otaku subculture, developing a unique form of “Manga Graffiti” that exists between wildness and vulnerability. Through this lens, he constructs emotionally charged character universes that reflect the inner conflicts and desires of contemporary youth navigating life between urban chaos and personal struggle. His representative series include Takumashii Syonen, Bitten Boy, Eyes, and Houses.

Sangyong Lee is an artist who actively exhibits in both Korea and New York. He has held 16 solo exhibitions, starting with his debut in Korea, and continuing with shows at Tenri Gallery in New York, Waterfall Gallery in New York, BK Gallery in Seoul, and Gallery Jeon in Daegu in 2022. Additionally, he has participated in over 200 group exhibitions and art fairs, primarily on the international stage.

b. 1992, Chongqing, China
Lives and works in Berlin, Germany

Xiyao received her Bachelor of Arts from Sichuan Fine Art Institute in China in 2014, and both her Bachelor of Arts and Master of Fine Arts from the Hochschule für Bildende Künste Hamburg (2018, 2020).
 
The Berlin-based Chinese artist creates large-scale, immersive paintings in which gestural lines evoke echoes of landscapes, bodies, movements, thoughts. In the process, she develops a kind of hybrid abstract painting that combines various influences and inspirations: Taoism and post-structuralism, ancient Chinese pictorial traditions, bodywork, dance, martial arts, and the canon of Western art history. Xiyao Wang’s paintings explore inner visions, bodily perceptions, sensations, feelings, interrogating her East-West biography.
 
Her solo exhibitions include: Tang Contemporary Art, Bangkok (2024), Massimo de Carlo, Milan (2024); Perrotin Gallery, New York (2024); Song Art Museum, Beijing (2023); Tang Contemporary Art, Beijing (2023);  Perrotin Gallery, Seoul (2023); Massimo de Carlo, London (2023); König Gallery, Berlin (2023); Perrotin Gallery, Paris (2022); Arndt Collection, Melbourne (2022); Gerber Stauffer Fine Arts, Zurich (2021); A Thousand Plateaus Gallery, Chengdu (2021); Soy Capitán Gallery, Berlin (2019).
 
Her work has been featured in important international venues, including the Bangkok Art Biennale, Bangkok (2024); Tank Shanghai, Shanghai (2024); Yuan Art Museum, Beijing (2024); König Galerie (2024); Le Château d’Aubenas, South France (2024); K11 Art Foundation, Hongkong (2024); CAFA Art Museum, Beijing (2024); The Art Museum of Sichuan Fine Arts Institute, Chongqing (2024); he Institutum, Singapore (2024); Yuan Art Museum, Beijing (2023);  Shepparton Art Museum, Australia (2023); Pingshan Art Museum, Shenzhen (2023); Art Museum of Sichuan Fine Arts Institute, Chongqing (2023); Aurora Museum, Shanghai (2022); Jiu Shi Art Museum, Shanghai (2022); New Now Contemporary Art Museum, Rizhao (2023); Baumwollspinnerei, Leipzig (2020); Cité international des arts, Paris (2018); Sprink, Dusseldorf (2018); and Chongqing Contemporary Art Center (2015), among many others.


Edgar Plans (Madrid, 1977), categorized as the most popular Spanish contemporary artist,
grew up and is now based with his family in the northern Spanish town of Gijón. After
earning a degree in Art History from the University of Oviedo, Plans started to participate in
small exhibitions in local galleries. As of today, his works have been exhibited in Museums
such as the MOMA Museum in Moscow Russia, the Xiao Museum in Rizhao, China and the
S2A Museum in Seoul, South Korea.
Plans oil painting pushes boundaries and combines traditional techniques with modern
perspectives. He experiments with diverse styles, from realism to expressionism, creating
captivating narratives and evoking deep emotions. Through vivid colors, dynamic
compositions and innovative approaches he challenges conventions and invites the viewer
to engage in thought-provoking dialogues about identity, society and the human experience.

KANG Cheolgyu (b.1990) depicts narratives of a fictional world with a realistic touch. The mysterious otherworld within his canvas is a landscape that metaphorically projects his own reality. People and animals in exotic nature, symbolic events, each are closely related to his emotions and psyche. The black sphere that appears in Enemy (2023) represents a physical manifestation of complex emotions that are difficult to handle, such as anxiety, compulsion, expectation, delusion, disappointment, and depression. The artist's reality is sometimes perceived as overwhelmingly helpless, like the Big One (2023), which remains unflinching even when struck by a decisive spear. In Hunting Diary (2023), a figure who prepares raw meat from the wild for survival is depicted as an incompletely segmented body or self-divided into several people.




KANG Cheolgyu was born in Gimcheon, Korea in 1990. He received his BFA in Painting and MFA in Fine Arts from Hannam University. He has held solo exhibitions at Chapter II (Seoul, Korea, 2022), M2 Project-room at Lee Ungno Museum (Daejeon, Korea, 2021), Artist Residency TEMI (Daejeon, Korea, 2020), Gallery Gabi (Seoul, Korea, 2017) and more. He has participated in group exhibitions at ARARIO GALLERY SEOUL (Seoul, Korea, 2024), Doonamjae Art Center (Seoul, Korea, 2023), Gallery Baton (Seoul, Korea, 2022), Daejeon Museum of Art (Daejeon, Korea, 2021; 2018), Galley Gabi (Seoul, Korea, 2017), Gallery Gwang, Sejong Center (Seoul, Korea, 2015) and more. He was the artist-in-residence at the Artist Residency TEMI (Daejeon, Korea) in 2020 and the Studio White Block (Cheonan, Korea) in 2023. His works are collected by institutions such as Seoul Museum of Art, National Museum of Modern and Contemporary Art’s Art Bank, Daejeon Museum of Art.

Anniketyni Madian (b.1986) is a Malaysian artist celebrated for her contemporary wood sculptures, which draw inspiration from her Iban heritage. Born in Sarawak, her connection to traditional art forms and indigenous craftsmanship is deeply embedded in her work. After graduating from Universiti Teknologi MARA (UiTM) with a focus on sculpture, Anniketyni honed a unique style that blends modern aesthetics with cultural motifs, particularly the traditional pua kumbu patterns. Her intricate woodwork has earned acclaim for its craftsmanship and cultural resonance, offering a fresh perspective on Malaysia's artistic identity and heritage.

Anniketyni’s work has been showcased in major galleries and exhibitions, both locally and internationally, positioning her as a significant figure in contemporary Malaysian art. Her innovative use of wood and her dedication to preserving indigenous art forms have inspired a new appreciation for Malaysian heritage within modern art. By incorporating cultural narratives into her sculptures, she challenges viewers to engage with Malaysia’s rich traditions in a contemporary context. Anniketyni's influence is profound, as she bridges the gap between tradition and modernity, encouraging younger Malaysian artists to explore their cultural roots in innovative ways.

Haeun Hong has continued to record, analyse, and decompose colours, images, techniques as materials, the body's movement to paint, and the materiality of the outcomes. She received a bachelor's degree in Fine Arts from Hongik University, a master's degree in Fine Arts from the same graduate institution. For her, who found great delight in discovering immersion and beauty when observing nature and transitioning it to paintings, life is described as a perpetual process of discovering its beauty. As an artist, she sees her fate as collecting shapes and colours and transforming them into paintings. She wishes to cover the manner in which contemporary people consume and generate images, as well as the materialisation of screen images through the body. Haeun Hong expresses the materiality of painting that the artist examines through the process of drawing on paper, cutting it, and placing it with scissors, which is a distinctive method of artistic production. 

Hojung Kim (b.1988), on the other hand, explores the painterly and abstract potential of ceramic—a traditional craft medium—treating its curved surfaces like canvases. Through the alchemical interplay of fire, pigment, time, and touch, her works evoke what might be called a tactile vision. At the core of her practice lies the color blue—a hue symbolic of both the sea and sky, transcendence and stillness. Her moon jars and bulbous vessels carry within them the emotional depth and layered memories of time, made visible through repetition and sensitivity of touch.

Water Lettuce Form

Water Primrose Form

Water Beetle Form

Baby goat

Love

Flowers and Dog

Spider and Butterfly

The spring of Seoul

A house on a mountain

Crying bird

Spring

Summer

Blood

Family

Persimmon tree

Flower

Rose

Prey

Raising things

Birth

Singing Birds

White cat

Adam and Eve

Black cat

Umyeon Mountain Landscape

Lingering Garden

Under the Mountain Umyeon

An Invisible Dream

Snowstorm Ⅱ

Snowstorm Ⅰ

Summer-Breeze

A Heap

Absorbing Landscape Ⅲ

Reflection ⅷ

Reflection ⅵ

Reflection ⅴ

Summer Night Ⅱ

Summer Night Ⅰ

The Beginning of the Reconstruction

Blooming and Flowing

Dark Forest Ⅰ

At Dusk

Even Higher

Algid Liles

Ajisai

True Friendship

Remembering

A Pink Lily Pond

The Lily Pond

The Star, XVII

Temperance, XIV

English Garden Series

In My Dreams

Love Language

Bountiful Bouquet

Boundless

Without End

Devotion

Sounds of Night

In A Haze

Co-Exist I

Clouds Descending

illusion

Celestial

Wait for Me

주차장(어린이집)

금지구역(A)

사막의 길

Portrait of an Artist as a Mother as a Universe as an Egg (After Hildegard von Bingen’s The Universe in the Shape of an Egg)

Memo piece_ Dream

Memo piece_ Help yourself

Weeping brushes

Through The Woods 3 숲의 게임 3

Night Garden 04

Late Night Incident 03

Through The Woods 1 숲의 게임 1

Night garden 05

Weeping Brushes_Painter’s Luck

Memo piece_ Weeping brushe

Weeping Brushes_Slow Dance

Through The Woods 2 숲의 게임 2

Weeping Brushes_Shower

Weeping Brushes_Tropical Dream

Late Night Incident 04

The Spell 02

The Spell 01

Amaran (Warning) I

Amaran (Warning) II

Amaran (Warning) III

Formation - Recollection_unrestraint 2-6

Formation - Recollection_unrestraint 2-5

Formation - Circle 10

Formation - Circle 9

Formation - Circle 7

Formation - Recollection 4-40

Formation - Recollection 4-39

Formation - Recollection_unrestraint M 3

Formation - Recollection_unrestraint M 4

Formation - Recollection_unrestraint M 1

Formation - Recollection_unrestraint 3-4

Formation - Recollection_Belief 2

Formation - Recollection_Belief 1-21

Formation - Recollection_moderation 2-9

Formation - Recollection_moderation 1-16

Formation - Recollection_unrestraint 3-1

Formation - Recollection_unrestraint M 2

Parallel Greens

Sublime Condensation

Brushstroke-N7

Acrylic Medium

Brushstroke Sculpture

Issu du feu K-21

Brushstroke-N10

My cheese

21C Survival Briefing

Surviving

Lull

Partnership

property rights

Find the cheese

charming point

Dreamer

Money chord

Against the tide

Unfit Bricks

The kids like it

Balancing Act

Tides of Uncertainty

Esquisse 01_21C Survival Briefing

Esquisse 02_A House Built on Sand

Esquisse 03_ Lull

Rosso Protocol

Giallo Ignition

Singularity Reborn 25-07-147

Singularity Reborn 25-07-148

Singularity Reborn 25-07-149

Singularity Reborn 25-07-150

Singularity Reborn 25-07-158

Urban Palimpsest 25-08-11

Unfinished Scaffolding 25-00-154

Unfinished Scaffolding 25-00-155

Unfinished Scaffolding 25-00-156

Urban Palimpsest 25-08-105

Urban Palimpsest 25-08-107

Singularity Reborn 25-07-121

Urban Palimpsest 25-08-113

Urban Palimpsest 25-08-151

Urban Palimpsest 25-08-152

Urban Palimpsest 25-08-153

Urban Palimpsest 25-08-114

Urban Palimpsest 25-08-117

Urban Palimpsest 25-08-118

Urban Palimpsest 25-08-119

Urban Palimpsest 25-08-157

MAYFLY 25-01-116

Singularity Reborn 25-07-111

Singularity Reborn 25-07-122

Singularity Reborn 25-07-123

Singularity Reborn 25-07-124

Singularity Reborn 25-07-125

Singularity Reborn 25-07-126

Singularity Reborn 25-07-127

Singularity Reborn 25-07-128

Singularity Reborn 25-07-129

Singularity Reborn 25-07-130

Singularity Reborn 25-07-131

Singularity Reborn 25-07-132

Singularity Reborn 25-07-133

Singularity Reborn 25-07-134

Singularity Reborn 25-07-135

Singularity Reborn 25-07-136

Singularity Reborn 25-07-137

Singularity Reborn 25-07-138

Singularity Reborn 25-07-139

Singularity Reborn 25-07-140

Singularity Reborn 25-07-141

Singularity Reborn 25-07-142

Singularity Reborn 25-07-143

Singularity Reborn 25-07-144

Artists