Nam Kim (b.1991) is an American-born Korean artist living and working in Vienna. Nam attended Ewha Womens University in Seoul from 2010 to 2015 and earned her Bachelor degree of fine arts (painting) and art history. Between 2017 and 2023 she studied with Professor Kirsi Mikkola and Alastair Mackinveb in Academy of fine arts Vienna.
Nam Kim mainly use painting for her artistic practice. Nam’s painting is about self-reflection, a process of learning about oneself. She attempts to understand and examine what the essence and the core of humanity are, focusing on capturing psychological fragments that occur in human relationships.

A little light shines brighter in the dark. Beings with little light, a tree of light held dearly by a dog, fish in a fishbowl seen by a duck, and the subtle glow of the moon contained in a water bottle are things that are hard to see under the dazzling sun. She said, “A ray of light illuminating the darkness reveals many things. It makes me hear the breathing of things that were always next to me but I passed by without notice and reminds me of their importance, like the air.”
A little light becomes hope. A shy step toward the light makes the frozen time flow and the air move. The air becomes wind and passes by the surroundings, instantly pushing the crescent moon hanging overhead far away. And then it soon returns, carrying gifts like the smell of grass, the scent of flowers, the moon halo, and the voices of countless friends who passed by. These are peaceful scenes at night where darkness and light embrace each other.

Bae Bien U(b. 1950) holds both undergraduate and graduate degrees from Hongik University's School of Applied Art, and has remained internationally active since his first solo exhibition in 1982. In 2006, he was the first Asian photographer to hold a solo exhibition at the Thyssen Bornemisza Museum in Spain, and was commissioned by the Spanish government to film the garden of the Alhambra(Granada, Spain), a world heritage site, for two years. Bae continued to hold large-scale solo exhibitions at venues that range from the Gwangju Museum of Art(2015), the Musée d'art moderne de Saint-etienne(France, 2015), and the Château de Chambord(France, 2015~2016) to the Wilmotte Foundation(Venice, Italy, 2022). He was awarded Lee Jung-sub Arts Award in 2016 and Chevalier de l'Ordre des Arts & Lettres from the French government in 2017.

Jaeyeon Leem explores a strange sense of novelty from unfamiliar sensations. The artist earned her undergraduate degree in painting from Ewha Womans University and is currently pursuing her master’s in the same institution. In her painting, peculiar emotions entangle with the world and result in its own fantasies. As our familiar world feels inadequate and incomplete, this uncharted mystic realm exerts a greater force upon us. The mythic motifs that appear in her work serve to amplify these sensations of strangeness, mystery, and fear that we have not encountered previously in our world. The unseen and unexperienced world feels like the underbelly of the real world, yet it is a space that makes us conscious of the depths within the human mind. 
Her art seeks to reconcile the coexistence of dualities such as reality and unreality, desire and repression, good and evil, beauty and ugliness, and within these tensions, she expresses the will and hope of life, aspirations, yearnings and fears. Her abstract gestures, intertwined with hidden forms, continually weave a narrative between the worlds she has experienced and those she has never encountered, revealing the artist's connection to an alien and mystical realm. The artist’s work is akin to myths - mysterious yet not fantasy or fiction bur rather a world that closely resembles the non-fictional, one she has sensed and felt.

My paintings are inspired by everyday scenes that come to mind. I look at moments that catch my eye or are captured spontaneously in a new light, and in the course of my work, I crop or enlarge parts of them to give them a new meaning as paintings, beyond their realistic meaning. 

After working as an architecture 3D renderings in Japan, he moved to the United States and started working as an artist in New York. He creates characters called Poi in sculptures and paintings, and installs them in various places in the city. When he sees the installation locations on a map, he places them in the shape of Poi. “Poi” means “Path of Imagination”. The artist's wish is that everyone in the world can live in harmony so that everyone can smile. The Poi placed throughout the town heals and encourages the hearts of those who meet them, like Jizo statues on the roadside.

Midori Arai, born in Ibaraki, Japan in 1992, graduated from Tokyo Zokei University in 2015 with a bachelor's degree in fine arts. She completed a master's degree in oil painting at Kyoto University of The Arts in 2022. 
Midori Arai's painting embodies the concept of capturing unconscious movements and reinterpreting them, illustrating the juxtaposition between the body’s finiteness and the painting’s infinity. The strokes serve as both an action and a trace, echoing the ideas presented in Roland Barthes’s essay on Cy Twombly, emphasizing the raw guidance of the hand and its desires over the precise control of the eye. This artwork transcends traditional visual perception, favoring the memory and automatic functions of the body—breathing, blinking, and heartbeat—over conscious intention. It invites the viewer to engage with the physicality of the artistic process and confront the traces of time, reflecting on the inherent limitations and continuous existence of the human form.


ThankYouX is inspired by the pop tropes and bright colors of the NYC graffiti scene as well as tech innovation. He started his works from LA street stencils to paintings and sculpture exhibitions in London, LA, Miami, NYC and Hong Kong. Now using his street style in a more unique way, he has gained world wide attention for his geometric cube paintings and large scale abstract works. In 2020, he made the leap into the NFT space and now ThankYouX is bringing the physical and digital worlds together to make a unique collection of original paintings and NFTs.

Tos Suntos
b.1992, Bangkok, Thailand

Tos Suntos (Panyawat Phitaksawan) is a Thai Artist and Designer known for his outstanding graphic design which can apply to 2D and 3D objects in unconventional style. For his professional artist, his outstanding work is he changes the visual of traditional Thai to a combination of Thai style, universal monsters. pop culture and modern art.

Since the 2014s, TOS SUNTOS has been an illustrator who created his work from surrounding culture, human lifestyle and memory of childhood. When he was young, he was interested in Sci-fi movies and monsters. Therefore, he brings all of his experience combined with pop culture and retro style to his original art works. Tos Suntos first gained international attention when he was commissioned to Adidas Headquarter as representative from Thailand.
 
Tos Suntos has embedded Thai Identity in his delightful works in the biggest Adidas shop in the center of Bangkok Thailand. His talents are expressed in painting, digital paint, graphic design, collage art and sculpture; which are full of delicate patterns, super detail and layers of art.

Byun Sanghwan is an artist who observes and deals with various objects.

Like a skilled martial artist, Byun navigates through urban landscapes smoothly, and at the same time, he becomes an anthropologist when observing and studying the bizarre light of some precious phenomena that are found in densely packed cityscapes. These cityscapes are disassembled into tiny units to be reborn through poetic metaphors, paradoxes, and humor, resulting in artistic creations. Everyday subjects, appearing in unfamiliar forms, beckon for a fresh perspective on urban life, while traces of physical endeavors inscribed in artworks evoke both the weariness and vitality of life.

The exploration of conditions that delineate various forms of art is also evident in his work. This includes the weight, volume, and space in sculpture, the surface, canvas and paint in painting, the process and multiplicity of images in printmaking, and the neutrality of objects. Moreover, the theme of time and body which permeates all forms of art. The questions at the boundaries manifest in his creations.

SeNa Hwang expresses emotions of loss and anxiety through a symbolic figure—a child with empty eyes. The vacant pupils and sharp whites of the eyes imply complex inner emotions and the possibilities that lie beyond. To articulate and clearly convey these feelings, the artist employs the simple contrast of black and white through the medium of charcoal. The process of drawing and smudging charcoal lines repeatedly resembles the human journey of experiencing wounds, healing, and self-discovery. The work begins as an outlet for suppressed emotions and gradually expands into an exploration of self-understanding and acceptance. The light and shadow within SeNa Hwang's compositions transcend mere visual elements, offering an experience of self-awareness and deep introspection. This reflects the artist's attitude of caring for and healing oneself through affection for others. Her works convey more than visual beauty, inviting viewers to share in the journey of self-discovery and growth amid loss and anxiety.


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.

Hansol Noh shows an interest in the impact of the diverse meanings and information that have been conveniently defined around us on our thoughts. She connects these concepts with language and focuses on painting, primarily utilizing Korean painting media. The artist draws inspiration from the images encountered in daily life, selecting those that evoke a sense of dissonance when observed. Having experienced the redefined significance and symbolism of something once accepted differently, the artist ponders common symbols, the processes of their formation, and the definitions prevalent in our surroundings. Attentive to the subjective meanings and interpretations born from personal experiences, she continues her work, exploring these queries.
She believes that the criteria for defining and evaluating something often rely on 'visible appearances or momentary, fragmented situations.' She finds the act of 'defining' intriguing, as it can assume different facets depending on the individuals defining it. When others define something this way, the intricate narratives surrounding it get omitted, leaving only a partial depiction. This raises questions about its impact, a subject she wishes to explore further.

For almost forty years, Heri Dono has developed a fantastical world of dichotomies in his paintings. Humorously juxtaposing reality with imagination, folk with contemporary art, politics with fiction, the tension between these opposing forces create narratives that cut across a complex, multi-layered system of ideologies. Having lived through the struggle against oppression by the Indonesian regime in the 1980s, and later the ‘reformasi’ in 1998 that spawned from the end of Suharto’s regime and developed into the neo-liberal globalization of Indonesia as it is today, Heri Dono’s artistic methodology re-examines power structures through satirical illustrations of humans versus the Other, man versus machine, offering a kind of passage for others to survive real life transitions during challenging times. 
​
He is known for his uniquely contemporary, Javanese style inspired by traditional Wayang Kulit (puppet theatre). Through his construction of thoughtful layers in his work, he is able to emphasize the more serious, underlying reflections on and criticisms of social and political issues such as military intervention, political corruption, and environmental destruction, allowing easier engagement with often difficult concepts. 
 
Heri Dono participated in no less than 31 international biennales. His works have been widely exhibited, including at the Venice Biennale in 2003 and 2015, the Gwangju Biennale in 1995 and 2006, the Singapore Art Museum, the National Gallery of Indonesia in Jakarta, Musée d’art contemporain de Lyon, France, and Asia Society New York, among others. His works are in the collections of the Deutsche Guggenheim in Frankfurt, the Fukuoka Art Museum in Japan, the Singapore Art Museum, the National Gallery of Australia in Canberra, and the Tropenmuseum in Amsterdam. Award winners of the Prince Claus Award for Culture and Development (1998), the Unesco Prize in 2000, and the Anugerah Adhikarya Rupa (Arts Award) from the Indonesian Government in 2014.

Yunseob Kim has experimented with a new methodology for creating flat images using diverse mediums, including drawing, painting, and animation. Since he majored in animation at Kongju University and maintained an interest in cartoons, he is allowed to create paintings that deviate from traditional genres like drawing and sculptures. In 2007, he began utilizing self-portraits, hand drawings, and cup drawings in his paintings and videos. He also worked in drawing, text, installation, and video in 2011. In addition, since 2014, the artist has delivered private narratives to the audience in a variety of techniques and subjects, including the “Hell” series, which focuses on digital physical properties experiments and the investigation of moving images. The artist is constructing his own universe by discussing the definition of time, events, visions, beings, and devildom as well as posing problems regarding the identity of modern painting in art history.

Le Phi Long (b.1988) is a visual artist based in Ho Chi Minh City and Dalat, Vietnam. He
graduated in interior design at Hue Fine Art University in 2012. Long’s practices include paintings,
site-specific art and conceptual objects. His practice is based on the study of the historical and
geographical origins of humans, intervention in the cultural shift and the effects in the community,
especially his generation.
Long feels that his generation lacks knowledge of Vietnamese history. Local materials and teaching
documents about this matter are incomplete, and this has impacted the way his generation identify
themselves, their journey of self-development and the connection to the international community.
Long is eager to search and compare local and international materials to close the knowledge
gap. Since 2016 Long has been focusing on the Dong Duong Lang Du project, which examines
French Indochina archives (late 19th and early 20th centuries) to explain the concern in the issue
of generation transmission in Vietnam.
Long co-founded the artist residency eNAME Art Center in Hanoi (2012) and MOIland, an art
center in Dalat (2017). He took part in residencies at Sàn Art in Vietnam (2013), the Bamboo
Curtain Studio in Taiwan (2015), Asian Highway Project in Korea (2018) and the Cité
Internationale des Arts in Paris (2020). Phi Long has exhibited and taken part in programs in the
UK, USA, Belgium, Portugal, France, Korea, Taiwan, Thailand and Vietnam.

Rizal Hasan
b.1992, Gresik, Indonesia

Graduated from Indonesia Institute Of The Arts Yogyakarta, Indonesia. He is currently based in Sewon, Bantul, D.I Yogyakarta, Indonesia. Artist selected solo exhibition: “POP Script : Encoding The Everyday” 2021 Indie Art House Yogyakarta; Special Art Project with Jogja Affordable Art at Jogja Art Gallery, 2022; ARTJOG 2022; ARTJAKARTA 2022.

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.


Ryle Russel's works are inspired by popular science fiction references such as brain radiostatic surgery, the song Gamma Knife by King Lizard and the Gizzard Wizard.

Atom (b. 2000, Bangkok, Thailand) graduated with a Bachelor’s degree in Painting from the Faculty of Painting Sculpture and Graphic Arts at Silpakorn University in 2022. Atom’s work delves into the collective memory of historical events and explores the profound relationship between humans and nature. He believes in the interconnectedness of events and their enduring impact on society.

Atom presents reinterpretations of historical events within contemporary contexts through experimental painting. His work was prominently featured at 'Save Point' at Kinjai Contemporary in 2022, where he introduced new perspectives on historical narratives. Continuing his exploration, Atom has challenged conventional views of collective memory by placing historical events in new cultural frameworks, as showcased in the exhibitions 'AMBIVALOVE' at Alte Handelsschule and 'D.E.T' at Pilotenkeuche during his residency in Germany in 2023.

Untitled

Tiger under the pine tree

SNM3A-029

SNM3A-067

SNM3A-069

SNM3A-065

Putti

Unattainable World

Clash2

Wings of Mirage

Putto

Clash1

F$CK

INNER UNITY

Come Find Me

To Be Honest

The Ones That I Came With

fusion

Lifting Up Together

One More Minute

Mind Of The Builder

My Escape

Safe Place

A Dream That Comes With Freedom

Live Rust-Odyssey 23003 (β)

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