Richard Prince is a contemporary American artist, widely recognized as a pioneer of Appropriation Art. His work is characterized by taking existing images, transforming or recontextualizing them, and thereby assigning new meaning to them. This method particularly involves the use of media, advertisements, and images from popular culture, often sparking debates over authorship, copyright, and originality. Despite the controversy, Richard Prince has achieved great success in the contemporary art market. His works have sold for high prices at auctions and have been exhibited in major museums and galleries around the world. Notably, his pieces are part of the collections at institutions such as MoMA and the Guggenheim Museum. Through appropriation, Prince continues to challenge the boundaries of copyright and creativity in contemporary art. His works go beyond merely borrowing images, offering deep insights into how images are consumed and interpreted.

In a space in between composition and abstraction, April Yang continues to use painting as a common language that includes individual appreciation. She obtained her MFA in Painting at the Royal College of Art after studying Painting at the Korea National University of Arts, and she has exhibited her work both in the UK and in Korea. Her interest in life derives from her diasporic background, having lived in several locations, and been exposed to other cultures since she was a young child. She also looks for ways to communicate across linguistic and cultural barriers. She enjoys in illustrating the spirit of mankind and environment in a range of materials and scales, whether it be in a vibrant portrait or an abstraction with a focus on color and line. Her work is intuitive and sensitive, and she hopes to appreciate it with reflection and contemplation to purify visitors’ minds and consciousness and find peace and optimism.

Mackerel Safranski (b.1984) has long been interested in the perception of her body, a perspective shaped by her personal experience with a long-term eating disorder. She draws from literature, news, and daily observations to construct the stories and images of the figures in her paintings. Ambiguous objects and fragmented scenes often appear in her work, creating a mysterious, uncanny atmosphere—as if something is on the verge of happening. The narratives within her work, which subtly hint at themes of migration, labor, violence, desire, relationships, and isolation, reflect her interest in exploring the “external body” as something we perceive and respond to within social structures. Recently, Safranski has expanded her practice to include video and installation, focusing on how narratives shift across different media.

In 2008, Safranski was selected for the exhibition Young Korean Artists, an annual exhibition organized by the National Museum of Modern and Contemporary Art, Korea, to showcase promising young artists. She has held solo exhibitions at A-Lounge, Seoul (2021); Soma Drawing Center, Seoul (2017); and participated in group exhibitions such as Hexed, Bexed & Sexed, West Den Haag, The Hague (2023); Walkie Talkie Shaking, Art Space Boan, Seoul (2022); One Escape at a Time, the 11th Seoul Mediacity Biennale, Seoul (2021); VIA Animation Festival, Viborg Museum, Viborg (2019); Matters of Women, Seoul National University Museum of Art, Seoul (2018); and An Artist’s Attitude toward Labor, Incheon Art Platform, Incheon (2016).

Kim Doyeon (b.1992) centers her work on how personal experiences are shared, aiming to evoke a sense of coexistence that includes even invisible elements of life through both individual narratives and broader dialogues with all living beings. She has created a series of drawings in response to letters received from exhibition viewers and has organized two-person exhibitions through exchanges with artists who share similar bodily experiences. Kim primarily works with finely detailed oil paintings and prints, employing a meticulous, persistent drawing technique that incorporates her own stories and gestures, expanding the possibilities for communication.

Kim earned her B.F.A. in Contemporary Art from Konkuk University, Seoul, KR, and her M.F.A. in Fine Arts from Seoul National University of Science and Technology. Her solo exhibitions include From, Kim Doyeon, EveryArt, Seoul (2022); CRR, Space Illy, Seoul (2021); Don’t Engage with Snowflake, AlterSide, Seoul (2021); and A Dog, A Bird, A Pot, Uhjjuhdah Gallery 2, Seoul (2019). She has also participated in group exhibitions, such as Mountain–Halyang, Chamber 1965, Seoul (2023); A Story That Never Happened, Gallery Inn HQ, Seoul (2023); OOOOO, ooooon, Seoul (2022); Performativity as Painting, TINC, Seoul (2021); Now Let’s Break the Bed, Art Space Pool, Seoul (2019); and New Drawing Project, Yangju City Chang Ucchin Museum of Art, Yangju (2018).

SanOh Lee works with materials such as soil, paper, and graphite to poetically reflect on life and death. By recognizing structural similarities in the ways text and image are generated, the artist explores diverse modes of creative language.

Drawing from elements found in books, Lee constructs relationships between text and image, unfolding compositions in a manner akin to writing. Through this process, the work expands into surreal visual landscapes.

The artist is particularly drawn to the image of the bird—as a medium that reveals what is sensed but unseen, such as intuition or premonition, and as a messenger that moves between the realms of the living and the dead.

Bo Kim (b. 1994) is an artist currently based in South Korea, who earned a degree in Painting (BFA) from the Rhode Island School of Design (RISD) in the United States. Bo explores the aesthetics of “impermanence” observed in the gap between nature and humanity. Based on the understanding that all relationships—among humans, nature, and objects—exist in a constant state of flux rather than permanence, the artist visualizes specific moments while embracing the passage of time. Similar to journaling a significant day, Bo translates personal memories and thoughts into her work. This creative act can be seen as an attempt to remember, record, and deeply embody the form and meaning inherent in fleeting moments within the flow of time. In this process, Bo utilizes materials from nature such as sand, hanji (traditional Korean paper), and flowers. For Bo, the act of creation is not merely about making something; rather, it is a process of sensing and understanding the impermanent nature of time that transcends both nature and humanity through these natural materials.

Through both figurative and abstract interpretations, Seonggwang Yun (b.1999) invites us to confront our instincts and primal emotions. His “monsters” embody human repression and mirrors the viewer’s memories and psychological states through anguished or vacant gazes. 

Yun’s first solo exhibition was with ROY GALLERY (2025). He has further participated in group exhibitions at Lotte Gallery (2024) alongside famed contemporary artists in Mr. Doodle and Travis Fish. He has also exhibited actively at Postedit Gallery (2025), Space Fountain (2023). He continues to garner international attention through shows at Monat Gallery (Spain, 2023), Vinyl on Vinyl Gallery (Philippines, 2025) and Verygood Gallery (Philippines, 2025).


Rachata Siriyakul was born in Thailand and studied till 8th grade. He started to learn art in “Nanyang Academy of Fine Arts” Singapore in 2015. Later in 2017 he studied art at the school of John Angel (Pupil of Pietro Annigoni) and Martinho Corriea pupil of John Angel, Florence, Italy before moving to purposefully directly study art with Odd Nerdrum, a famous Norwegian painter. In 2018 he participated in an exhibition at Bangkok Art Biennial, Theatre of Indulgence Gallery by Lotus Arts de Vivre. Moreover in 2023 he participated an international art fair in Art Busan.

Peachful, an artist and storyteller whose delicate linework evokes the warmth of childhood fairytales and offers a gentle embrace to every feeling you’ve ever ticked away.

Wichuda Khuntijit (b. 1999) is a rising voice in the new generation of Thai female artists, known for her quiet strength and unwavering dedication to her craft. She holds a Bachelor’s degree in Visual Arts from the Faculty of Fine Arts.

I Kyoung Ha begins with landscapes encountered in everyday life and on her travels, quietly drawing out the “traces of time and emotion” that remain in moments easy to overlook. Rather than rushing to define what she sees, she holds the scene in a sustained, contemplative gaze, then translates the subtle movements of the heart into paint. In her work, calmness takes precedence over drama; by withholding exaggerated emotional peaks, she allows a gentler resonance to surface—one that offers viewers a soft, lingering consolation.

What matters in her practice is less “what is depicted” than “how one stays with the scene.” Different affects—warmth and ease, or solitude and faint melancholy—interlock quietly within a single frame, inviting viewers to encounter their own memories and emotions without strain. I Kyoung Ha favors subdued chroma and controlled value, building density through a traditional painterly process that often begins with a dark underpainting and gradually shifts from shadow toward light. Through this method, she constructs an inner temperature and temporal depth that extend beyond the image on the surface.

Having earned a BFA in Painting from Hongik University and completed coursework in Special Video & Graphic Design at Sogang University’s Graduate School of Mass Communication, I Kyoung Ha has consistently expanded an attitude of “looking” and “staying”—as suggested by series titles such as Gaze of Stillness (2024), A Looking Heart (2023), and Quietly Swaying (2022). Across her exhibitions, she continues to refine a visual language that does not insist, but remains—so that time, feeling, and silence can be held with care.


Living and working in Bangkok, Thailand.
Butsapasilaexplores the process of creating collective memories through informal
storytelling across diverse contexts. This includes forms such as folk legends, historical fiction, mystical beliefs passed down orally, as well as conspiracy theories circulating on blogs, alongside personal memories from his own youth.
Much of his work delves into the historical memory of the Thai state, with a particular focus
on the northern region. His research examines the transformative period between the colonial era and the Cold War, a time when perceptions of space were shifting, laying the foundation for contemporary and future worldviews.

For Hyunmo Yang, drawing is an observational attempt of self-reflection that leads to a process of balancing. Fragments of daily experiences and emotions manifest as oscillating lines or dense shadowy spaces-proving the interstices of Yang’s painting and existence.

Salvo was an Italian Conceptual artist that transitioned from producing austere sculptures to painting richly colored depictions of the Italian countryside. Born Salvatore Mangione on May 22, 1947 in Leonforte, Italy, he became associated with artists of the Arte Povera movement during the late 1960s, meeting Alighiero Boetti, Mario Merz, Gilberto Zorio, and Guiseppe Penone, while living in Turin. Originally achieving recognition for his text-based works—which consisted of his name or a tombstone for himself—Salvo began painting in 1973. Characterized by simplified forms reminiscent of the early Modern avant-garde. These dream-like scenes like are reminiscent of the Italian Metaphysical painter Giorgio de Chirico. In 1977, the Museum Folkwang in Essen, Germany gave the artist his first retrospective. He died in Turin, Italy on September 12, 2015 at the age of 68.

Lucio Fontana was an Argentine-Italian artist known as the founder of Spatialism. The movement focused on the spatial qualities of sculpture and paintings with the goal of breaking through the two-dimensionality of the traditional picture plane. He was best known for his monochrome canvases known as Concetti Spaziale that he would cut or puncture, leaving distinctive gaping slash marks and holes that imbued the finished work with an almost violent energy. In his seminal writing, White Manifesto (1946), the artist traced ideas for creating a new medium that blended architecture, painting, and sculpture.

Hiroshi Nagai (Japanese: 永井博, born December 22, 1947) is a Japanese graphic designer and illustrator, known for his cover designs of city pop albums in the 1980s, which established the recognizable visual aesthetic associated with the loosely defined music genre

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.

Tum Ulit or Natakorn Ulit (ฺBorn in 1992) is an artist, cartoonist, and storyteller enamored with the world of cartoons since childhood. He completed his undergraduate studies in Animation Production at Mahidol University International College (MUIC). His passion for cartooning stems from a profound need to articulate and navigate through deep-seated pain and sorrow nestled within his soul. Through the art of cartooning, Tum discovered a transformative medium, allowing him to explore his innermost self and the intricate nuances of his emotional journey. 

Tum Ulit first gained recognition among readers through his webcomic series featured on his page “Tum Ulit”. What distinguishes him is his ability to narrate stories through visuals alone, reaching deep into the emotions and touching the souls of readers from diverse backgrounds and languages worldwide. This unique approach has inspired him to continuously create works that resonate as ambassadors of people’s emotions. Tum Ulit hopes above all that his creations spark profound reflections and become symbols of apologies, remembrance, or lingering sentiments in people’s hearts. Presently, his page boasts a global following of over 1.7 million individuals. 

In 2022, Tum Ulit made his debut in the art scene with the group exhibition “Shall I Compare Thee to a Summer’s Day?”, followed by “To the Moon and (Never) Back” in 2023 and his first solo exhibition, “Who’s Cutting Onions?” (2024) which all held at River City Bangkok. These showcases, especially his solo exhibition, captured the attention of collectors and enthusiasts alike, both locally and internationally. 


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.

Pang Torsuwan (b. 1981) is a self-taught artist who earned her Master’s degree in Marketing from Monash University, Australia. Her career began in advertising, marketing, and the fashion industry, yet her lifelong passion for art eventually called her back. In 2017, she devoted herself fully to painting, with a particular focus on oil, and by 2019 she was invited by a gallery to present her debut exhibition. 

Chu Mirim(b. 1982) is based is Seoul. Using pixels as elements in her work, Chu engages in formative experiments that go beyond design and fine art. She critically explores keywords related to computer graphics, pixels, and the internet etc., and she has great interest in producing work where the cross- sectional aspect of images used in social network sites may be viewed from various angles. All her works, in particular, transform a visually hidden web-based society into a series of images, reflecting the artist’s intention to directly present the digital landscape around us. As time passes, her perspective which looks at the life forms of the contemporary young generation gets brought out across a more diverse spectrum.

For Chung Arong, painting is a way of discovering and giving form to the true self. Her work records a natural process of exploring identity and origins, reaching beyond questions of form, biology and mythology.

A recurring narrative throughout her earlier works follows a person entering a forest alone at night and encountering a series of unexpected events. The artist was deeply inspired by a passage in Heidegger’s writing on the origin of art, in which a path through the woods leads to an open clearing. Or perhaps she had already begun working with images of forests and people, and found encouragement in the passage afterwards.

The motifs of the forest and the human figure represent personal symbols that cannot be expressed through the language and logic of everyday life. Forests, empty fields and solitary figures offer glimpses of what Jung Arong’s paintings seek to explore.

Manjae (Park Juhyun) has devoted his painting practice to a single, inexhaustible subject: the dokkaebi, Korea's indigenous supernatural being. Rather than merely depicting this trickster spirit, his large-scale acrylic paintings make its sinmyo (神妙) — the quality of being at once numinous and unfathomable — directly available to the senses. Densely packed canvases teem with all things in creation: mythic animals and plants, East Asian architectural motifs, machines and airplanes, and crowds of figures whose status, dress, and gesture each hint at their own symbolism, dispersed across the picture without a single center.

UNTITLED, (WATCHES) (TWO BAUME AND MERCIER), ED. 1/10

UNTITLED (POLO COLOGNE BOTTLE)

PORTRAIT OF DOUGLAS TURNBAUGH

SELF-PORTRAIT WITH A SPADE

Monarch of Peace

Monarch of Revival

Monarch of Justice

Monarch of Beauty

Monarch of Courage

Monarch of Wisdom

Monarch of Love

Monarch of Liberty

Soft Figures

A Dog with Two People

My Black Bird

Morning is Gone

The Narration of Night

Through the storm

Tea Time

Along with you

Purakanui (The Legendary Mythical)

Living Together

Piopiotahi (A piopio bird)

Hokitika (The Water of Green Jade)

Apricot Flower

Eyes of Three Birds

Aile3

Aile2

Aile1

Graveyard

No one noticed

Pond

Aether

It blooms, in its time 피어 가는 줄도 모르다

And is gathered, in time 아름답게 피어난 것을 거두는 것

Always beside, always with love 뿌린 씨가 뿌리를 내리고

Softly, with his open arms 한껏 팔을 벌린 그의 바람

Back to the Past

Baseball

Buddy

Caught One!

Cell

Holding Back Tears

I'd Like to Take Out a Loan...

I'm Crazy, at Sunset

It's Over There

Off-Line Ceramics

Mushroom

Oh... haha

This Card Is Maxed Out...?.........

Smiling Friend (1)

Smiling Friend (2)

Smiling Friend (3)

lt's so outrageous i can't say a word

Neuron

Superstar(1)

Oh....that's not it ...plz

Ah?...

Portrait of Marco Polo in Da Yuan

Portrait of The Dueller

Life’s Own Performer

Chains of Perfection

Pull-Push

Inner Peace

Mend Pieces

Bloom in Silence

Behind the Curtain of Perfection

Dream Weaver

The Life Conductor

Piece of Me

The Passage of Hourglass

Masterpiece Marionette

Castle of Emptiness

Crossroads of the Unknown

The Missing Piece Within

Balance Isn't Harmony

End of Control

Endless Labyrinth

Pawn’s Gambit

Surrender of Life

The Unity Die

Roots of the Past

The Lost Key

The Floating Dreams

The Night The Roots Didn't Hold

Trust Yourself

In Time

Moonless Night

The Night the Stone Floated

The Same

Transition

The Night the Curtain Opened

Nothing Stays Above Us Forever

Tomorrow Unseen

Resting Clouds

Another Piece

All Within

It came, It went

The Night the Cloud Hung Low

Brave

A walk

Altyn-Arashan

Facing myself

A park

the Temple of Doom no.2

Flexible Forms 11.12

Flexible Forms 11.04

Short Truth

Flexible Forms 08.29

Flexible Forms 10.19

Flexible Forms 10.10

Flexible Forms 10.13

Flexible Forms 10.18

Flexible Forms 11.19

Flexible Forms 12.05

Flexible Forms 12.19

Flexible Forms 12.27

Flexible Forms 07.02

Flexible Forms 01.05

Flexible Forms 05.01

Flexible Forms 01.15

Flexible Forms 01.17

Flexible Forms 01.19

Flexible Forms 01.03

Flexible Forms 12.03

Flexible Forms 04.18

Flexible Forms 08.08

Flexible Forms 02.03

Flexible Forms 03.05

Flexible Forms 03.11

Flexible Forms 03.25

Flexible Forms 04.01

Flexible Forms 04.21

Flexible Forms 04.25

Flexible Forms 04.27

Flexible Forms 05.10

Flexible Forms 05.25

Flexible Forms 07.05

Flexible Forms 08.19

Flexible Forms 08.11

Flexible Forms 08.25

Un quadro coi fiocchi, 1998

Concetto Spaziale, Attese

Untitled 05

Untitled 01

Untitled 03

Signature of the natural No.17/2023

Signature of the natural No.8/2023

Signature of the natural No.7/2023

Move 2022 No.1

Signature of the natural No.25/2023

Signature of the natural No.27/2023

Signature of the natural No.14/2023

signature of the natural No.9/2023

Signature of the natural No.12/2023

Signature of  the natural  No.13/2023

Move 2022 No.4

Move 2022 No.3

Move 2022 No.2

Move 2021 No.5

The Cotton Shield

Fragility of change

Symposia

Lights(B/W)

Drive007

4 spots

Lights

Soft Snow(35.01, 135.77)

Scrolling

New grid 003

Fish shape

The Birth of Venus

The Madonna in the right panel of The Melun Diptych

Make a Wish

Falling Stars

Taking off the Ego

Touching the Light

Almighty Hand