Sojin Park (b.1983) draws from personal reflections on societal structures—seen as fated—and her own sense of hybrid identity. Through intricate drawings and stitching on fabric, she constructs imaginative realms where thread functions as both connector and destroyer of singular worlds. Her work depicts beings—part hero, part creature—that exist between reality and unreality, evolving within repeated patterns rich with layered meaning. Her practice breaks from the archetypes of the contemporary, encouraging introspection while stirring dormant utopian visions within the viewer.

Yohei Yama is drawn to elemental energies and his hypnotic works lay claim to the
transcendent power of art to heal, or to atone. From the paralyzing aftermath of the 2011
nuclear disaster in Fukushima sprang the essential motifs that characterize his work – little
trees, rays of light and swirling winds bridge and rebuild the bond between the artist and
nature.

The artist Lee Hee-myoung has been exploring a multifaceted perspective on the inner self using painting and installation works, with a focus on femininity and nature since her plant installation piece in 2006. She graduated from the Department of Painting and the Graduate School of Painting at Hongik University. She has held a total of 11 solo exhibitions, including one at the Zaha Museum of Art in 2019. Additionally, she has participated in around 50 group exhibitions, such as those at the Seoul Museum of Art (2007), Sungkok Museum of Art (2008), Soma Museum of Art (2018), and Zaha Museum of Art (2023). She endeavors to establish an internal connection seeking harmony between nature and the female body through diverse expressive techniques. Departing from a vertical mindset that seeks to dominate nature as a primitive world, Lee Hee-myoung advocates for a horizontal world that aligns femininity and nature. Through contemplation of nature and inner self, she creates reassembled works based on the combination of plants and the body, addressing the corporeality of nature and femininity. She also implements fairy-tale-like imagination and mythical symbolism across various spectrums, the positivity of aesthetic embrace and the unsettling shadow of the unknown are captured in her work.

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.

Danielle Lin (b. 2001) graduated with a Diploma in Fine Arts from the Malaysian Institute of Arts (M.I.A) in 2021 and quickly made a mark on the Malaysian art scene. That same year, she won the grand prize in Bakat Mahasiswa, a notable competition hosted by M.I.A and the National Art Gallery, establishing her as a rising talent. Known for her unique, allegorical style, Danielle’s work employs indirect, cynical, yet humorous puns to reflect life’s contradictions, often using cute characters to create a visual irony that resonates with audiences. Her exhibitions and curatorial work have further strengthened her influence, marking her as a voice of her generation.

In her recent solo exhibition, The Age of (Un)Innocence, Danielle explores the complex transition from childhood to adulthood, capturing the bewildering shift where once-stable truths become uncertain. The series examines young adults' awakening to a world where even respected figures face setbacks and opportunities often come through connections rather than merit. Through these works, Danielle encourages viewers to question societal norms and the reliability of surrounding structures, presenting a reality as whimsical yet unsettling as a child’s dream. Her insightful blend of humor, introspection, and social commentary has solidified her presence in contemporary Malaysian art, appealing to audiences through a fresh perspective on modern 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.

Wonkyo Choi explores the intersections where opposing or contrasting realms meet, overlap, or collide. Wonkyo’s work focuses on dissolving and reconstructing these boundaries, challenging the fixed notions of separation. Recently, the artist’s practice has turned toward the nature of images produced within digital environments. Also, the artist investigates their depth, expansiveness, weight, and spatial qualities—elements often overlooked in purely data-driven forms. By transforming these immaterial, digitally-generated images into physical and tactile presences, Wonkyo attempts to give form to the intangible, bridging the virtual and the real. the artist’s work not only questions the ontology of contemporary digital imagery but also proposes new ways of sensing and experiencing the image beyond the screen.


Chris Ro (b.1976) is a graphic designer and artist. His work can be characterized for their kinetic, spatial, poetic and atmospheric properties. Born in Seattle, Chris went on to study architecture at the University of California at Berkeley. After working as both architect and designer he went on to study graphic design at the Rhode Island School of Design. This mixed background continues to influence his explorations that fluctuate between both two and three dimensions. He is often at home when exploring concepts in motion and space and their relationship to the more static surfaces of graphic design. He recently finished research exploring concepts in Korean space at Seoul National University.
His work has been exhibited all over the world and is part of the permanent collections of the Victoria and Albert Museum, Musée des Arts Décoratifs, Die Neue Sammlung, the Seoul National University Museum of Art, Hongik University Museum of Art, Platform-L Contemporary Art Center and the National Hangeul Museum.

Lee Kwang Ho is a representative figure in realism paintings. He takes daily subject matters and takes the reproduction of their forms into a unique language of his own. Although realism seems like quite a laborious task and sometimes compulsive as well, through the pictorial depiction of Lee Kwang Ho, we see the reconstructed reality fabricated by his intentions. Subjects that are expressed both vigorously and dramatically expose the desires of their subconscious, and also stimulates the tactility of those that behold them. In his wetland series, he experiments with techniques like scratching and tapping on the canvas. Upon closer inspection, the depicted subjects dissolve, leaving behind a layer of paint with precise brushstrokes and meticulous knife work, which emphasizes the exploration of the fundamental question of painting - the act of painting itself.
Lee has held solo exhibitions in various venues, including Johyun Gallery, Busan; Kukje Gallery, Seoul; and Chang dong Studio Gallery, Seoul; and has participated in group exhibitions at Seoul Museum of Art, Seoul; Busan Museum of Art, Busan; Gana Art Center, Seoul; and Saatchi Gallery, London. His works are included in prestigious collections such as the National Museum of Modern and Contemporary Art, Seoul; the Seoul Museum of Art, Seoul; the Gyeonggi Museum of Art, Ansan and the Jeju Museum of Art.


Yan Lei (b. 1965, Hebei, China) graduated from the Zhejiang Academy of Fine Arts (now known as the China Academy of Art) in Hangzhou in 1991. Yan is a singular and unconventional figure in the Chinese contemporary art world. Adopting an independent and distant attitude, he explores and
unveils different issues, such as power relationships, competition or the closeness of values and prices that exist in the art system through various media including painting, sculpture, installation, video, and performance. His works often incorporate multiple and contradictory values. This
ambiguousness shows, on the one hand, the artist’s alertness to and reflection on the various problems in art making today and, on the other hand, the solitude that he feels from being part of the system and his complex feelings confronted with vulgar reality.

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).

A visual artist based in Bangkok, primarily working with Thai literature and history as well as their discourse and relations to the global narrative. His focus centers on exploring memories of Thai visual arts and cultures through the process of collage, as he endeavors to unveil and question them in various forms and dimensions. Infused with a contemporary aesthetic, the juxtaposition of local and exotic fragments creates an alternative chronicle, prompting a reexamination of the past. It nudges viewers to traverse through whispers of scenes that one might only partially remember, a distant murmur from an elusive past.

My work begins with the perspective of a person strolling alone through a city. People created cities and erected buildings out of necessity, but what truly protected the city, as people flooded in and then ebbed out, were the buildings that stood there, looking down on them. While some buildings possess great historical and artistic significance, most were ordinary, unremarkable buildings where people spent their daily lives. They were the face of the city, telling me different stories every day. People spend most of their time in the city, or more precisely, among these buildings. Above all, the city's buildings are built to be solid, and that's how they should be. I believe this mirrors the daily lives of people who live each day with a calm demeanor, concealing their complex inner selves. The buildings in my paintings, interwoven with lines that are solid yet gentle, linear yet organic, capture the emotions of those who live in the city.

As I mentioned earlier, I want to conclude by saying that every profession has a role to play within society.
As an artist, there's one story that I've always held close to my heart. This is a passage from a letter the painter Paul Gauguin wrote to a friend. I read it so long ago that I don't remember the exact text, but it's now a phrase I remember, slightly modified, as my own. "A painter is someone who captures the tremors of emotion so trivial and everyday that people often miss them and presents them to others." Even now, as an artist, this passage provides the basis for asking and answering the recurring questions, "What should I paint?" and "Why should I paint it?" It also fuels my hope that my work goes beyond simply expressing my emotions. I believe that my ongoing mission as an artist is to capture and visually present the tremors of emotion that people undoubtedly experience in life but fail to accurately express, or lack the need or space to do so.


Jee Hui Hong’s world unfolds in muted hues, where uncertain substances intertwine and blur into one. Forms refuse to stand independently; instead, they dissolve into one another, weaving a tapestry of fluid chaos. Her canvas allows objects to merge; their boundaries softened into a dreamlike ambiguity.

Brushstrokes, paint, resin, and fragments converge within the frame. Amidst the soft tones, silhouettes of flickering candles, flowers, faces, hands, and feet emerge like distant echoes. Shards of glass slice through the surface. Once discarded objects are found and transfigured into new visual existences.

Her work lives in a space where light and shadow intertwine, where matter refuses confinement and instead shapes its own language of expression. Within the canvas, these materials embrace light before vanishing once more.

Floating through layers of color, letters drift and wander on the canvas. Meanwhile, brushstrokes surge forward, uncontainable in their emotion. The unraveling and weight of unseen thoughts—these find a quiet life within (name)’s work. Always on the verge of taking shape yet never quite solidifying, they reach endlessly toward the visible realm.

Painting is a gauge of gravity, according to Jeongyoon Park. The artist, who is taking a master's degree in the Department of Fine Arts at Seoul National University of Science and Technology, has been focusing on the concept of gravity. Instead of defying or destroying gravity, she investigates what is possible with gravity. The artist actively utilizes various materials and methods in her works, experimenting with the horizontal possibility of the painting by incorporating fragmentary or complex elements into her works to show various art universes. 

Kim Nampyo creates realistic yet fantastical artworks. He has presented works featuring tigers emerging from the sea and zebras appearing in front of the Independence Gate, showcasing his imaginative compositions. In recent years, he has focused on realistic landscape works that prioritize on-site experiences, depicting the seas of Jeju and the Himalayan Everest mountain.
Kim Nampyo graduated from the Department of Western Painting at Seoul National University's College of Fine Arts with a B.F.A. He later received his M.F.A. from the graduate school. He has participated in over 20 solo exhibitions and more than 60 group exhibitions domestically and internationally, including "Drawing Jeju Island" (Gyoboa Art Space, 2022), "Instant Landscape – Goosebumps" (Gana Art Center, 2017), "Instant Landscape" (Gana Art New York, 2009), and "Instant Landscape" (Gallery Hyundai - Window Gallery, 2007). He has also participated in international art fairs such as Abu Dhabi (UAE), Art Central (Hong Kong), and KIAF (Seoul). He has won the Grand Prize at the National University Art Exhibition and the Gold Prize at the Creative Arts Association competition in South Korea. His works are held in collections at institutions such as the Seoul Museum of Art, the National Museum of Modern and Contemporary Art, Korea, the Seongnam Cultural Foundation, and the Suwon Art Museum.

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.

Winter Gyeoul Kim graduated from B.F.A. Fine Arts, School of Visual Art(New York, USA) and received her M.F.A. in the Department of Fine Arts at the Korean National University of Arts. In 2018, she held her first solo exhibition Herts at Weekend, and the second solo exhibition As if Singing at Your Own Pace(PS Sarubia, Seoul) was held in 2022. She has participated in several group exhibitions including Memory Beneath the Ego, Fantasy Above The Ego(2023, Seoul National University Museum of Art, Seoul), Only Indelible Good Left(2023, SPACE SO, Seoul), Landscape and Abstraction(2022, Kyobo Art Space, Seoul), I, Etcetera(2020, Hite Collection, Seoul), and One seeing this also thinks that(2019, Artspace 3, Seoul). She has participated in DOOSAN Gallery International Residency - ISCP(2024, New York) and The 14th Resident Artists programme at Seoul Art Space Geumcheon(2023, Seoul).

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.


Shaina McCoy works from photographs to paint her family members in thick, expressive brushstrokes. While her source material is deeply personal, McCoy renders her subjects without faces, inviting her viewers to project themselves and their own relatives into her scenes. As she depicts subjects from many stages of life and employs a wide range of skin tones and compositional styles, McCoy thematizes the diversity and complexity of Black families and experience.

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.

Based in Seoul, Lee Heami explores the diverse material qualities of clay. She creates freely formed objects unbound by function, and through the repeated process of silvering their surfaces, she speaks to the accumulation of time and the nature of connection. By hand-building, firing, and layering silver onto her forms, she expresses a condensed beauty and fluid sensibility — works that respond with quiet attunement to the temperature and humidity of a space, drawing the viewer into a sensory dialogue. Lee Heami's practice is an open-ended sculpture that transforms through relationship, always moving toward but never fixing itself at completion.