The artist Lee Seokyoung, who expresses the ventilation of everyday life through her painting work, transforms the complex state of daily life into expansive colors and uses the technique of "erasing to draw" on the wet surface of the paint, leaving only visual language and sensory experience. The process of revealing the broad colors on the white canvas creates a space where the body of the painting can take control. The live brushstrokes, made in a single sweep without layering multiple coats, demand the artist's intense concentration and create a composition that breaks free from conventional and rigid systems. In this process, by erasing between the wet paints, the work is not obliterated but reborn through exposure, transforming into a neutral and pure form of language.

Maria Chang (b. 1981) is a contemporary artist who emphasises materiality through richly layered matière and vibrant, dynamic colour. She majored in Textile Art at Hongik University and creates relief-like, dimensional paintings using materials such as plaster, sand, and gel stone.

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.

Japanese artist Ken Kagami is known for his brashly humorous and playfully erotic works that involve stuffed toys, exposed genitals and bodily functions. Often merging Pop figures with bizarre, appropriative add-ons or colorful appendages, Kagami challenges contemporary Pop art sensibilities. The artist is also known for his collaborations with the band Deerhoof and since 2010, Kagami has operated the Strange Store, a retail space in Tokyo that sells clothing, objects, and printed ephemera.

Zelalem Merga, a visionary artist hailing from Addis Ababa, Ethiopia, is known for his profound connection to emotions and the natural world. Born in 1989, he earned his BFA from Addis Ababa University Alle School of Fine Arts and Design (Graphics Department) in 2013, and currently resides in the vibrant Ethiopian capital.
Driven by passion and an unwavering commitment to innovation, Zelalem transforms discarded materials into mesmerizing works of art. His creative process is fueled by an innate desire to elevate the ordinary, encouraging viewers to reconsider the value of everyday objects and contemplate their own consumption habits.
In Zelalem's artwork, there is an underlying sense of disquiet, reflecting the complexities of the modern world in which we live. Through his masterful use of recycled materials, he constructs captivating portraits that challenge the status quo and leave a lasting impression on the art world. Each piece is a testament to the transformative power of art and the potential for renewal within ourselves and the world around us.
Zelalem Merga's work is not only an ode to the beauty and splendor of nature but also a celebration of human creativity and resilience. As an artist who truly embodies the essence of Artue's brand, we are honored to showcase his remarkable talent and share his unique perspective with our community of art enthusiasts.

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.


Born in Schwerte, Germany, in 1952, she studied at the Werkkunstschule in Cologne and became one of the first artists to exhibit at the Monika Sprüth Gallery, well-known for presenting only female artists. She is a professor at the Kunstakademie Düsseldorf, in Nordrhein-Westfalen. Trockel’s early works include the series Knitted Paintings (1985), created using machine-knitted fabrics stretched over canvases. In these woolen canvases, Trockel depicts generic computer-generated imagery and, in some cases, particular historical iconography such as a Soviet worker with a hammer and sickle.
The artist continues to work in a wide variety of media and genres, including the creation of living sculptures from garden elements as in Less Sauvages than Others (2006). Rosemarie Trockel has received numerous awards, including the Wolf Prize in Arts in 2011 and the Roswitha Haftmann Prize in 2014. She has exhibited extensively worldwide: in 2012 her work was presented at the New Museum in New York in a retrospective organized by the Reina Sofia in Madrid, that traveled to the Serpentine Gallery in London the following year. In 2018, the Moderna Museet in Stockholm mounted a solo show of her work. Trockel is the first woman to represent Germany in its national pavilion at the 1999 Venice Biennale, and continues to exhibit internationally.

Based on the act of sculpture, which involves cutting, gluing, and chipping away at materials, He is experimenting with rethinking the process and structure of sculpture. He views the act of sculpture as a process of simulating the form of a large sculpture through drawings and small maquettes, rather than simply accumulating masses, and also as a process of reconsidering the internal structure of the sculpture, the hierarchy of masses and surfaces, and revealing the traces created in the gaps of such sculptures. Rather than creating a single direction, the artist explores the act of sculpture and the form of sculpture derived from it, which is directed in multiple directions to perceive the space-time of reality in different ways.

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

He explores the ways in which events and objects with fragile qualities are transformed into paintings that project his view of the world. The paintings, created by transferring the shapes of intuitive and impulsive trajectories to the canvas, coloring them, and superimposing sketch lines that go back in time, reflect the site of the artist’s body’s vital encounter with and understanding of the world. The shapes formed by the jagged, impulsive trajectories are glazed and clumsy, but there is a recollected sincerity behind their appearance.

The artist creates drawings on the fly, collecting and reinterpreting ideas from objects. He has seen closely or encountered by chance. He perceives the paper or canvas, the support for recording the trajectory, only in his peripheral vision and draws according to the impulsive rhythm of his hand, or he chooses visual isolation, not looking at the support at all. Relying on guesswork and sensation to capture shapes, the recorded objects become the sketches for the paintings, with their fuzzy shapes. Freed from the desire to reproduce the surface of the object, this act aims to truthfully record the indeterminacy and ambiguity of the body’s impulsiveness. The lines thus drawn help me to focus on the abstract fragments of the events encountered and the elements of the painting.

The brushstrokes that apply oil pigment to the drawing’s shapes move and lay out the color plane based on the direction of the drawing strokes, such as where they are applied with pressure and the rhythm of the line. In this process, the drawing outline inevitably becomes embedded in the pigment of the oil painting, which is then scratched out again with a pencil or re-emphasized with a darker brush, preserving the past trajectory as a final image. The forms maintained by the dense outlines create the appearance of a solid exoskeleton that blocks intervention from the outside, but the gaps between lines and lines become a fragile exoskeleton that allows for contact with the outside. In Jang’s paintings, the viewer’s gaze is actively invited to penetrate through the gaps in the outline, just as bacteria penetrates through the gaps in an exoskeleton, creating a field of interaction with the artist’s paintings. This phenomenon is not only the artist’s way of being in a world with complex causal relationships, but also the embodiment of the artist’s attitude toward such a world.

Seokmee Noh's works are mainly based on her surroundings and everyday moments such as people or objects. Despite the simple compositions and shapes, it's the key brushstrokes and vivid colors that make the subject matter stand out clearly on the canvas. In particular, the artist's way of expressing her emotions through color rather than form gives off a distinctive cool and lively nuance due to the stark color contrasts. This, coupled with Noh's free-flowing, jerky brushstrokes, creates a vibrant texture that is sometimes accompanied by simple letters or phrases, which is another characteristic of her work.
Born in Seoul, Korea, Seokmee graduated from Hongik University College of Fine Arts, Department of Painting in 1994 and has since held solo and group exhibitions at various art spaces in Seoul, the United States, Sweden, Germany, and the United Kingdom. Representative exhibitions include 'Poetic Collection' at the Seoul Museum of Art, 'Painting and Narrative' at Museum San, and 'When I Wake Up in the Morning' at Albus Gallery. In Jeju, she exhibited 128 paintings depicting the front view of the sea at the Jeju Biennale 2022. Her works are currently in the collections of the Seoul Museum of Art, the National Museum of Modern and Contemporary Art Art Bank, and the Space Body Museum. She currently lives with his cat in Yangpyeong, South Korea, where she continues to communicate with the world through writing and painting.

Muhammad Jabbar Dipanegara was born in Bandung, 1986. In 2012 he completed the Master of Visual Art program at FSRD Bandung Institute of Technology. Apart from being an artist, Jabar is also active in teaching as a lecturer at a private university in Bandung. 

Genteki Yamashita was born in 1998 in Kanagawa Prefecture. He graduated from BA Oil Painting at Tama Art University. Yamashita explores the possibilities of diverse materials such as charcoal, crayon, oil and waste wood from everyday objects in his paintings, drawings and sculptures. By drawing lines and surfaces as if in direct contact with the screen, the distance from the screen and the physicality of the act of drawing remain on the screen. The medium that accumulates on the screen is like a pool of water that accumulates during a tour, and is formed as a work of art with unpredictable phenomena, instability, inevitability and coincidence in the production process. By wearing the accumulation of time through Yamashita’s handiwork, the work has a sense of weight, including an appearance and shape caused by artifice.


Todam assembles fragments of memory to sculpt new afterimages. By presenting familiar subjects in their distorted, recollected forms, he renders the recognizable strange. His works hovering between warmth and unease add a subtle charge to each viewer's personal memories, opening space to reimagine the subjects that live within them. What appears at first glance to be roughly made is, in fact, the product of meticulous sketching and dozens of simulations. These deliberately planned imperfections carry a force strong enough to displace the clear, universally recognized image of the original.

Duenchayphoochana Phooprasert is an artist and author who currently teaches for the Visual Arts Program at the Faculty of Humanities and Social Sciences, Valaya Alongkorn University. Duenchayphoochana’s works of art have always involved clay. She utilizes raw materials like wood, clay, water, and sunlight to depict her ideas about the relationship between change in nature and change in human beings. When natural energy causes “movement” in the artwork, it is similar to the work of time and events that create both good and evil “movement” for humans. Her creation, therefore, suggests the universal truth about energy shifting that has affected us all along.

Alimi Adewale was born on 8 May, 1974 in Lagos, Nigeria. Although he studied mechanical engineering, he developed an interest in art by going to exhibitions. He furthered his extensive knowledge of art after graduating by attending various art workshops around the world.
Adewale uses the mediums of painting, sculpture and installation to explore urban issues and the lives of everyday people in cities. Some of his work examines the impact of excessive urbanisation, rapid modern development, and the growing global economy on society. His practice combines elements of minimalism and abstraction to evoke the dynamism and intensity of the cosmopolitan environment. Most of his work has a profusion of rich textures and oftentimes an uncommon
sculptural finish, whether utilising photography and oil paint (Owambe, 2015) or thick lumps of oil mediums (House of Assembly, 2013).
The artist mines the endless possibilities of a particular material to introduce an additional dimension into the work: that of time. Imbued with their own mortality, his sculptures cultivate the experiential function of art compared to traditional African sculptures, creating an oeuvre that
is distinctly current and as witty as it is macabre.

Hyewon Na is a painter born in Gwangju, South Korea. Her work explores conflicting yet coexisting emotional states, such as anxiety, violence, imperfection, sacrifice, love, and beauty. Through her art, she reflects on human vulnerability and the tension between finitude and eternity. Her work is a study of how to aesthetically represent these human contradictions. Much of her inspiration comes from history, society, religion, and more.
She earned her Diplom from the Hochschule für Bildende Künste Dresden (under Professor Martin Honert) in Germany, and has participated in numerous solo and group exhibitions in South Korea, Berlin, Dresden, Paris, and other cities. She currently resides and works in Berlin, Germany.

Soyoung Jeon brings onto the canvas plants she has grown and tended herself, as well as subjects and landscapes encountered repeatedly over days of daily walks. For her, “to see” is not merely to register visual information, but to engage in a synesthetic experience accompanied by the texture of surfaces, the volume of air, and even the scent of the wind. Through the accumulation of such sensations, she turns her attention to the layers of time formed in relation to her subjects, that is, to “relationship.” The beings she has met again and again, listening closely to what they seem to say, are often small, fragile, and easily overlooked. Yet she believes that these ordinary and delicate presences ultimately sustain herself, the world, and one another. The plants in her paintings are not simple representations of nature, but traces of relationships built over time and spaces in which the sensation of “aliveness” is quietly questioned.
She reflects on the idea that to be alive also implies moving toward death. Just as blooming and withering coexist within a single plant, her paintings hold together states of emergence and disappearance. Infusing the picture plane with the sensibilities she has learned through nature, she continues painting as a gesture of closely touching the world.

Misol Lee establishes rules within her radius of daily life, such as her studio and walking routes, allowing her to persist in her painting work. By executing these rules and documenting daily minute changes, she adopts the attitude of a performer rather than a creator towards her paintings. Her method of repeating brush strokes in specific amounts and at specific times becomes a ritual to sustain her life as an artist every day. Thus, when painting a day's worth of work, it's more important to focus on the brush strokes at hand than to predict the finished state in advance. The paintings, filled with daily repetitions, become landscapes imbued with time, and show how the artist, who persistently clings to the objects around her, interacts with the world within the realm of time.

Atreyu Moniaga is an Indonesian artist based in Jakarta. He gradu- ated with a degree in Communications and Visual Design from the Jakarta Institute of the Arts (IKJ) and started his career in the creative scene as a freelance illustrator and photographer. His works are influ- enced by dark fantasies with a tinge of surrealism, in which he com- bines visual symbolisms as a way to communicate his most private thoughts, feelings, and desires. Although he takes inspiration from somber sentients, his works are characterized by a whimsical universe filled with beautiful ornamental details. Working primarily in paint- ing and drawing, Atreyu has recently explored sculpting and remains open to cross-disciplinary collaborations. 

Complex emotions that are often perceived as negative, such as despair, grief, and anguish but they are fuels to his artistic process. Moniaga tries to convey these emotions through the visual universe he invented. Incorporating reference from popular culture, medie- val legends, and religious stories, Moniaga crafts symbols and coded visual languages in his paintings as a way to express his innermost thoughts, feelings, and desires. He hopes his audience can find a source of hopefulness and self-acceptance to confront their own grim facets. He often allows himself to be lost in his own thoughts, where He feels unbound in creating these fictional stories and characters found in his works, his universe. 

Gabriel Orozco attended the Escuela Nacional de Artes Plásticas between 1981 and 1984 and in 1986, moved to Madrid to continue his studies. In 1987, Orozco returned to Mexico City, where he associated with a group of other artists including Damián Ortega, Gabriel Kuri, Abraham Cruzvillegas and Dr. Lakra. This group met once a week for five years to talk about myriad artistic and cultural projects. 
Orozco has had many important solo exhibitions, including the Museum of Contemporary Art in Los Angeles, in 2000; the Hirshhorn Museum, Washington D.C. and the Serpentine Gallery, London in 2004; the Museo Nacional Centre de Arte Reina Sofia, Madrid, (2005); the Museo del Palacio de Bellas Artes, Mexico City and the Museum Ludwig, Cologne (2006). The Museum of Modern Art in New York organized a mid-career retrospective that toured to the Kunstmuseum Basel, the Centre Pompidou, Paris, and ended at the Tate Modern, London, in May 2011.  Other important solo exhibitions include the Guggenheim Museum, New York, 2012, the Museum of Contemporary Art Tokyo MOT, Tokyo, Japan (2015);  and the Aspen Art Museum, Aspen, in 2016. Orozco participated in the Venice Biennale in 1993, 2003, 2005 and 2017, the Whitney Biennial (1995 and 1997), as well as Documenta X (1997) and Documenta XI (2002). 
In 2019, the President of Mexico announced that Orozco would, in conjunction with the Secretariat of Culture, oversee the construction of a major new cultural center within Chapultepec Park in Mexico City. Gabriel Orozco lives and works between Tokyo, Mexico City and New York.

Artists