Boonhlue Yangsouy has created exquisitely aesthetic and individual arts. He has participated many group and solo exhibitions. “Behavior = Identity” 2015, “Lady and Chandelier” 2017, “Love Is” 2019, “The Spirit of Six” 2019 and international stages including Art Expo Malaysia Plus 2017, Art Central Hong Kong 2019, Art Expo Malaysia 2019, Art Fair Philippines 2020, ART CENTRAL 2023 , ART CENTRAL 2024 and Art Busan 2023.


Jo Heejin explores structures of relation and harmony through the repetition and variation of the circle. By joining together small, thin ceramic discs one by one, the artist visualises how each unit’s particular grain and thickness accumulate into an ordered and harmonious whole.
These circular clay elements shift subtly with fingertip pressure and the material’s response; gathered together, those differences produce a surface that seems to breathe like a living organism, forming an organic structure. In Jo’s work, circular repetition is not a mere replication of form but an act that forges relationships by accommodating the other.
At every seam where they meet, a warmth is conveyed—as if the surfaces hold and draw one another in. For Jo, the circle as a “unit” is both an independent entity and the minimal language of coexistence, embracing difference to form a shared landscape.

Abang is regarded as one of the most famous artists for her unique and romantic depiction of us enjoying the modern day, which she achieves by using vibrant colours to reveal the mysterious line between daily life and the non-daily. After receiving a master's degree in illustration from London's Kingston University, she began to paint free-living individuals in vivid colours. Based on the catchphrase “Fun, Witty, and Romantic”, she is currently operating her own brand of design products called “My Real Abang,” including graphics for numerous periodicals, webzines, and album covers. Abang explores “things that keep my life rich, free, sexy and warm” throughout her works, and is actively collaborating with worldwide brands such as Spotify and Valentino, as well as broadcasting, product, and fashion firms to develop an 'Abang-like' style. 

Based on an interest in 'how a wishing heart manifests in daily life,' Seokwoo Chung visualizes the energy emitted when a being strives toward something. He is fascinated by the flow of consciousness formed from cause and effect, and by the culture of wishes permeating the mundane. Drawing inspiration from the fundamental cultures of various religions, his current work extends the realm of the canvas by basing it on painting and incorporating installations in space. He implements a device that amplifies the characteristics of each, by going through various processes with painting works that correspond to the nature of specific spaces or places.

YISLOW focuses on various relationships that form human life. However, characteristics of YISLOW’s world of art does not limit its subject of the relationship to humans but includes abstract realms such as time, incident, objects, or even oneself. By heaping disordered lines and colors that bloom from the heart, the artist tries to capture the undefinable infinite image like the random atypical humming that vanishes in her work. Perhaps the work of YISLOW is most like the imagery when the word ‘innocent’ is interpreted in the language of visual art.

Herbert Matter was a Swiss-born American photographer and graphic designer known for his innovative use of photomontage in posters. Matter also photographed the unique personalities of his friends Alexander Calder and Alberto Giacometti at work in their studios. Born on April 25, 1907 in Engelberg, Switzerland, he went on to study painting under Fernand Léger and Amédée Ozenfant in Paris, before working as an assistant to the famed architect Le Corbusier. During the early 1930s, Matter established his career in design with the posters he created for the Swiss National Tourist Office. Moving to New York in 1936, the artist worked as a freelance photographer for a number of magazines including Vogue, before being signed exclusively by Condé Nast. In the decades that followed, Matter took on many roles, including working as a design consultant for both the furniture company Knoll and the Solomon R. Guggenheim Museum. The artist died on May 8, 1984 in Southampton, NY. Today, his works are held in the collections of the Smithsonian American Art Museum in Washington, D.C., the J. Paul Getty Museum in Los Angeles, and the Victoria and Albert Museum in London, among others.

Han Sang-A translates the emotions and memories experienced at pivotal moments in her life as an artist, a woman, and an individual into her own unique artistic language.

Shin Junmin (b. 1985) majored in painting at the College of Fine Arts and the graduate school of Yeungnam University. As a "walker" in everyday life, he has developed a deep interest in the various forms of light, both natural and artificial. His work focuses on visualizing intangible elements such as the day's wind, air, temperature, and sound, all of which contribute to his exploration of light in his paintings.

He has held a total of 10 solo exhibitions to date, including White Out (2024, Pipe Gallery), White Shadow (2024, Artspace Purl), and New Light (2022, Boan Yeogwan 1942). His notable awards include being named Young Artist of the Year (2015, Daegu Culture and Arts Center), Suseong Emerging Artist (2017, Suseong Artpia), Young Artist Support Program (2018-2019, Daegu Foundation for Culture), Ha Jung-woong Young Artist (2019, Gwangju Museum of Art), and First Career Support for Young Artists (2022, Korea Arts Council).

Cho Youngnam is a celebrated singer, television personality, and contemporary artist who has built a distinctive visual language that bridges popular culture and fine art. By reinterpreting the traditional Korean card game hwatu through the lens of pop art, he transforms a simple pastime into a cultural symbol and collective memory that transcends generations. His works dissolve the boundaries between tradition and modernity, mass culture and high art, humor and satire—expanding the aesthetic possibilities of contemporary art.

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.

Yunhee Lee has reinterpreted Dante's "The Divine Comedy," a collection of Western religious/mythological worldviews and narratives, in a "saga of a girl who overcomes life's adversity and pioneers her way to destiny," building her own narrative and worldview rather re-presenting. Through this exhibition [The Stigmata], the artist hopes to bring light to her narrative based on the worldview she has meticulously built, about “desire and anxiety,” the essence of human nature, and “healing”, the process of overcoming them.

The artist produces each unit and completes the work by recombining them, which is similar to the way classical narratives are weaved into the artist's works. In this process, traces of iconography that crosses various boundaries can be seen, ranging from medieval European altars, baroque styles, grotesque patterns, to traditional Buddhist paintings (speciﬁcally Gam No Taeng Hwa) and historical paintings. These function as a universal and vast narrative device found in traces of history. If 'desire and anxiety' are viewed as the essence of human nature, these traces would eventually manifest into sacred remains unearthed from the process of overcoming the essence. However, in the present, we no longer discuss the stories of overcoming life and death, that is, the mythological narrative.

At this point, the artist views the process of overcoming the essence as the process of "healing" and newly constructs and recreates the story by implementing diverse methods of visualization. Each work, which is completed with a combination of various demarcated units, seems somewhat heterogeneous and contradictive, but performs as an individual allegory. Through a dialectical process, the viewers are able to reach the artist’s interpretation of “healing” that she intends to convey.

Life imposes various pains and wounds on men stemmed from desire and anxiety, but as humans grow through the process of pushing through them, desire and anxiety rather become powerful intrinsic driving forces. The wounds and pains may in fact be the stigmata of the process of striving to ultimately reach a better future. The dreamy imagery of the works resembles the moment of breaking free from pāramitā, of us when we wept vigorously from the intense shock of birth, ﬁercely ﬁghting against pain of life.

Born and raised in Bangkok, Thailand, Chonnapas Yokyai (ฺBorn in 2000) is an artist graduated from the Faculty of Fine Arts, majoring in Painting, Sculpture, and Printmaking at Silpakorn University. Her works are symbolic and transcendental paintings. Fueled by her interest in everyday life from a feminist perspective, her art endeavors to explore the answers with the societal framework she confronts. Through vibrant and surrealistic paintings and subtly veiled figurines, she casts a spell, inviting viewers to interpret and explore through their own personal experiences. Her art portrays a peculiar and twisted scape, inviting people to interpret and explore through their own personal experiences. 

Chonnapas became well-known among collectors from the group exhibition ‘Utopia’ (2024) at River City Bangkok and the group exhibition ‘Perplexa Scenario’ (2024) at Joyman Gallery.


KIM Inbai(b. 1978)'s works are characterized by the form of asking questions from a new perspective and suggesting a different sensory experience, which confronting the socially formed cognitive biases of humans and the limitations of acquiring spatiotemporal cognition by educating. In most cases, he creates sculptures by transforming the human body, and at which time the body is completely dehumanized and presented as a formative mass itself. From a large statue that signified a dignity of an authority; a clod that express a rounded sense of volume without detailed expression of eyes, nose, and mouth; and the rhythm of the body that contained by a wire across the space, the objects he creates are always dismissed or omitted, but it always implies a clue to visualize the whole imagery. Resemblance of human body, KIM Inbai’s sculpture series imply a social and cultural context or sometimes act as an abstract instrument by maximizing the basic elements of sculpture such as dot, line, volume, and texture. Through these processes, his sculpture becomes a point of contact with the external side, and at the same time it occupies a special point of constant transformation in the inner part, and which make their viewer to face a strange situation that is bordered by familiar but unfamiliar and conscious but unconscious. 

 

KIM Inbai has participated in solo exhibition at Perigee Gallery (Seoul, Korea) in 2020, Arario Gallery (Shanghai, China) in 2019, Arario Gallery (Seoul, Korea) in 2014, Arario Gallery (Cheonan, Korea), 2011, DOOSAN Gallery (New York, USA) in 2010, Arario Gallery (Seoul, Korea) in 2007, and Gallery Skape (Seoul, Korea) in 2006. In addition, he has participated in group exhibition at Taehwa River Eco Art Festival (Ulsan, Korea), CoSMo40 (Incheon, Korea) in 2021, Seoul Museum of Art (Seoul, Korea) in 2019, DOOSAN Gallery (Seoul, Korea) in 2019, Arario Gallery Seoul I Ryse Hotel (Seoul, Korea) in 2018, BREGA Artist Space (Seoul, Korea) in 2018, Daegu Art Museum (Daegu, Korea) in 2018, Seoul Olympic Museum of Art (Seoul, Korea) in 2016, Museum of Contemporary Art (Shanghai, China) in 2016, Asia Culture Center (Gwangju, Korea) in 2015, Arario Museum DONGMUN MOTEL II (Jeju, Korea) in 2015, Sungkok Art Museum (Seoul, Korea) in 2015, Seoul Museum of Art (Seoul, Korea) in 2014,  Amore Pacific Museum of Art (Jeju, Korea) in 2014, Gyeonggi Museum of Modern Art (Ansan, Korea) in 2011, MAD (New York, USA) in 2011, Saatchi Gallery (London, UK) in 2009, Busan Biennale (Busan, Korea) in 2006, Seoul Museum of Art (Seoul, Korea) in 2004. KIM Inbai participated in residency program at Seoul Museum of Art (Seoul, Korea) in 2017, DOOSAN Gallery (New York, USA) in 2011, and ISCP (International Studio & Curatorial Program) (New York, USA) in 2009. Major collections include Sigg Collection (Swiss), Arario Museum (Korea) and Seoul Museum of Art (Seoul, Korea).

Yujiro Ueno is an up-and-coming artist creating paintings with motifs of dragons, tigers, birds, and other creatures based on the idea of "chi" in Eastern thought. Based on the theory of Yin-Yang and the Five Elements of the Universe, which views all things in the universe as two opposing elements

Surachai Mawornkanong, also known as Niam Mawornkanong, is an established
Thai artist specializing in intricate acrylic painting on canvas. He used his art to captivate audiences' attention then set them free to explore their own subconsciousness.
Though possessing degrees in philosophy and fine art, the majority of his technique
is self-taught and compliments the fact that he is colorblind. His work also displays a
versatile vision ranging between abstract principles and realistic portraiture.


SuRim Hong departs from the temporal layers embedded in the French word 'Jadis (long ago).' Drawing narratives of the past from forgotten objects and traces, his painting is a quiet and expansive meditation on things that have disappeared.

ROKKANKIM is a South Korea–based artist who presents works across a range of genres, primarily producing media works through collage and video compositing techniques.

Drawing inspiration from the social and cultural phenomena of the 1960s and 1970s, the artist combines these references with personal experiences to create surreal visual narratives. ROKKANKIM is particularly interested in duality—the coexistence of opposing qualities such as good and evil, positivity and negativity. His work invites viewers to experience each piece in their own way, much like how a single event or phenomenon can be interpreted differently depending on individual perspective.

His representative series include Space Oddity, which explores the dual nature of astronauts’ lives alongside the beauty and fear of outer space, and Sea the Wall, which examines the layered and often conflicting relationships between the sea, architecture, and humanity.

Jongheon Bae (b. 1969) discovers artistic values in ordinary things with deep thinking and lyrical sensibility, and expresses them through visual media. He creates his own works without restrictions on form and material. He majored in painting at Gachon University and its graduate school, and completed a doctorate in fine arts at Kyungpook National University. Jongheon Bae held a total of 17 solo exhibitions, including Gallery SoSo's 《Trying Nothing》. He also participated in several group exhibitions at home and abroad including Animamix Biennale(Shanghai), Busan Biennale(Busan), Changwon Sculpture Biennale(Changwon), Jeonnam International Ink Biennale(Mokpo), Daegu Photo Biennale(Daegu), the National Museum of Modern and Contemporary Art, Sungkok Museum of Art, Arko Art Museum, SFAC Galleries in San Francisco, ArtN space in Shanghai, and DUMBO Art Center in New York. He published a massive book, 『Bae JongHeon_JagUpZipSeo』(2015, Seoul: Monocle), which is a compilation of his artistic world, including artist's notes summarizing his artistic thoughts, work records, and catalogs. Bae Jongheon won the Goam Art Award in 2014, and his works are collected in the Arko Art Museum, Seoul Museum of Art, and Gyeonggi Art Museum. Following the Glenfiddich Artist-in-Residence in Scotland in 2021, he is working as an artist-in-residence at the Changdong Residency at the National Museum of Modern and Contemporary Art in 2023. In there he is expanding the scope of his work through inspiration from new spaces and life.

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.

Sung Min Woo is a contemporary artist who explores ecological order and the dignity of existence through marginal life forms, particularly grass. By capturing the tenacious vitality of grass-often overlooked-the artist extends its quiet resilience into narratives of organic interconnectedness that shape our shared lives.
The work moves beyond simple representation of nature, focusing instead on the values and relationships between beings. Using a distinctive technique of gold leaf and traditional pigments on silk, Sung elevates plants grown in harsh environments into sacred presences. The delicate stems and leaves spreading across the luminous golden surface visualize the unseen flow of life, inviting viewers to reflect on a sense of awe toward all existence and the value of coexistence.

Alex Jo’s work, which is bright, bold, and colorful, is in stark contrast to his actual appearance, who enjoys wearing achromatic colors and has an introverted personality. The reason why he prefers bright and colorful colors in his works is that he can express himself in a different way that he cannot show outwardly. While using pop-up colors as point colors, the greatest charm of his work is the comfort that stands out in harmony. The balance of pop-up colors presents the coexistence of comfort and splendor. Alex Jo composed and developed this color coordination based on organic and vintage colors which is inspired from the old pillars of traditional Korean houses and naturally dyed Hanbok (Korean traditional wear) garments with fruits and plants. In his work, what stands out along with the strong colors are the straight lines that give off a masculine feeling. It is also a beautiful characteristic of Alex Jo’s work that he has completed the subtle emotional delivery that harmoniously completes a rather cold line and a warm story by using the story of the artist's own warm sensibility as a message while using masculine shapes as the main motif. 

Taryn Simon directs our attention to familiar systems of organization—bloodlines, criminal investigations, flower arrangements—making visible the contours of power and authority hidden within. Incorporating mediums ranging from photography and sculpture to text, sound, and performance, each of her projects is shaped by years of rigorous research and planning, including obtaining access from institutions as varied as the US Department of Homeland Security and Playboy Enterprises, Inc.
Born in New York, where she lives and works, Simon received a BA in semiotics from Brown University in 1997. In 2001 she was awarded a Guggenheim Fellowship for what would become her first major photographic and textual work: The Innocents (2002), which was exhibited at MoMA PS 1. Documenting cases of wrongful conviction in the United States, The Innocents calls into question photography’s function as a credible eyewitness and arbiter of justice.

Phichai Keawvichit (b. 1975) is a talented photographer characterized by his minimalist photography of architecture, gaining a reputation from his Instagram with 80,000 followers and interview articles by several media. He presented many photography exhibitions in several locally famous photo galleries such as Accidentally Professional Exhibition (2019) in Silpa Bhirasri’s House, Unlock solo exhibition in 2019 at River City Bangkok, Urban Progress group exhibition in 2021 at Bangkok Art & Culture Centre, and this latest one The Memoir of Movement in 2022 at River City Bangkok is regarded as his second solo exhibition. Aside from photography, Phichai loves writing to share his insightful stories. He is currently the ‘Ekaphab’ columnist publishing his articles in Matichon Weekly.


Apple and the Murder1

มนุษยคู่แรก no. 3

Me and another me no.1

มนุษย์คู่แรก no. 2

Weeding party no.1

ARTUE

Frances Ha

Mooood triplet

Isn't it sweet?

Ridge#23

Ridge Landscape #30

Reverse

Watchtower#2

Ridge#18

Vessel

Corte

Twin Occurrences

Upliftwind#3

FOREST

Play

Peace

Love

Boing!

Like it

Hearts

Faces 1

Faces 2

What kind of house will we live in next? 1

Harmony

Today

Angel 1

Somewhere Unknown 17

Somewhere Unknown 18

Kyoungchip

Lo is Nothing 5

Garden 2

Garden 1

Friends Friends 12

Connection 6

Friends Friends

Somewhere Unknown 10

Somewhere Unknown 11

The Star the Forest Seeks

The Forest Seeks a Star

SOMEWHERE UNKNOWN

Connection

The Star Hunter Who Found a Flower

The Star Hunter 3

The Star Hunter 2

The Star Hunter 1

The Butterfly Family

The Dream of Seeking Stars 1

MIDNIGHT

The Little Star's Friend

The Procession Beneath the Wavering Starlight

HARMONY

Mobile in Motion

Body 1

Flesh 2

Flesh 1

Mutual 1

Small Void Pagoda 2

Body 2

Light Forest

Whiter Flower

Bird

White Flower

Light Flower

Flood Lighting

Thorn Tree

Wind Tree

White Light

Waves

파랑띠

KOREAN POP ART

극동에서 온 꽃

극동에서 온 화투 꽃

달이 있는 풍경

노인과 영웅들

내 딸의 자전거

쏠테면 쏴라!

노인과 에펠탑

마리린몬로와 나의 어머니 김정신 교회 권사님

항상 영광

Untitled

내 길을 갔답니다

우리 엄마 김정신 권사님이 가짜 꿀 만들면서 불렀던 찬송가 내주를 가까이

빨강띠

Accidental Aesthe6cs No.3

Birds Flying Back to the Mountains

Ink Lotus in Autumn Rain

The Era of Drifting Away

Asian Wind No. 1, 2, 3

The Castle Of The Spider's Web

La Divina Commedia

Puzzle of origin

Jump into the Reflection

The Oracle Pill (Blue pill)

The Oracle Pill

Simulation Field

The Bloom of Consciousness

Playground Error

The Arrival

Eternal recurrence

The Seed and the spine

Laboratory of Birth

The pool of her

Eve’s Algorithm

The Constructed Haven

Oracle of Birth

Genesis protocol

The infinity code

The Oracle Pill (Pink pill)

By This River

The Three Shades

Back 7/8

Back 1/4

Two Days

Back 1/4-drawing 3

Back 1/4-drawing 4

My Little Sun

Flow— Carp— No .8

KulikalaDragon No .3

Looking for Red

House Warming

Looking for Blue

가려진

Swamp

A Horse Bay

Light of space race 1

Light of space race 4

Space oddity 28

Orb Halos 2

Orb Halos 3

Orb Halos 4

Orb Halos 1

Light of space race 3

A Garden without Doing Anything

Trying Nothing_Concrete Cracks, Plasterer's Trowel, and Unknown Native City Plants

Ethereal Mountain_30P2250024

Ethereal Mountain_30P2250023

Trying Nothing_cement wall decorated by a plasterer, crack, peeling paint, scratches

Ethereal Mountain_20P2250022

Ethereal Mountain_20P2250021

Trying Nothing_Concrete Cracks, Peeling Paint and City Dust

Trying Nothing_Concrete Cracks, Plasterer's Trowel, City Dust and Uneven Spotty Cement Surface