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.

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.

Inae Shin paints the subtle tension that arises between figures sharing the same space—the flow of gazes exchanged just before anything happens. With faces often turned away or partly hidden, she conveys each figure's sensitivity through posture, gesture, and the direction of a glance, inviting viewers to read the scene through their own eyes. Currently based in Hamburg, Shin has recently turned her attention to invisible forces like wind, depicting figures, animals, and landscapes swaying together within a single flow.

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.


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.

For nearly two decades, d'strict—an ArtTech Factory—has been producing outstanding convergent content by utilizing a wide range of digital media technologies. Their robust technical capabilities have shaped the company's impressive repertoire, which upholds the ethos, "perceiving the zeitgeist and fulfilling its demands constitute the essence of art and the spirit of the artist."
d'strict excels at designing user-centric experiences that are often customized to suit the specific spaces their projects occupy, which is achieved through a content creation process that integrates a variety of interfaces and displays.
Renowned for its capacity to craft intense visual experiences, d'strict is constantly seeking innovative ways to fundamentally stimulate and reshape the perceptions and thoughts of people in their everyday lives, with the ambition to enhance their quality of life.

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).

The narrative in literature, as a distinctive discourse system, is based on real life. Through logical coherence, description, lyricism, and interpretation, it creates a distance between fiction and objective reality. The creative inspiration for this exhibition's works originates from Yan Jingzhou's journey to the UK. However, the imagery of British elements goes beyond regional characteristics. Much like accomplished science fiction writers and film directors, Yan Jingzhou, through the creation of an alternative world, brings to light historical or contemporary truths that often elude conventional narratives.
Yan Jingzhou's creations are consistently rich with imagination. His unique perspective, akin to a distorted mirror, reflects an apparently similar yet exaggerated infinite world within the confines of a finite frame. In the town of "Buster" in the fictional world constructed by Yan Jingzhou, most characters still possess the classic characteristics of the "Old Buster." The difference lies in Yan Jingzhou's artistic iteration, expanding from a focus on specific character images to a more extensive depiction of various domains through the technique of fictional narrative. One could say that Buster permeates every nook and cranny of the town. Essentially, Buster and the town can be situated in any corner of the world.
In the construction and portrayal of scenes, Yan Jingzhou exhibits a more precise and vivid mastery. He skillfully intertwines reality and imagination through metaphorical techniques, reflecting the authenticity of life and reconstructing a colorful world. In the town of Buster, seemingly ordinary scenes reflect the humorous aspects of everyday life. The simple tone both highlights the charm of the characters and contrasts with the bitterness of life.  The narratives within the town can unfold in diverse directions, accommodating individuals of varying identities and colors. The plot may feature straightforward actions or embrace a diverse amalgamation of characters and settings, transitioning from a semi-realistic portrayal to a novel aesthetic creation and narrative expression.
In front of the green dessert shop in the West district, a police officer holding doughnuts in both hands unexpectedly locks eyes with a thief who, in disguise, is attempting to slip away. At a bar in the North district's nightlife scene, a bartender with a face covered in mayonnaise casts a sidelong glance at a drunken patron lying down. The youngster peddling chewing gum on the diagonal street in the West district during the day morphs into a playful ghost reveling in the East district at night. Around a long table, individuals of different skin tones, each with a distinct expression, gaze at the baked beans held by the first person. In a fast-food restaurant, two adults are distributing three kinds of condiments to seven children, and so forth. Countless stories are unfolding in the town—upper and lower districts, the sky, dinner parties, exams, str

David Surman's artwork captures the viewer's attention with its energetic brushstrokes, vivid colors, and crisp textures. Cute but not overdone, humorous but not serious, his expressionistic paintings of the natural world are a perfect fit for THEO, a gallery that strives for diversity, as they carry a meaning that hasn't been shown before, yet still speak to the viewer's intuitive gaze.

Woo Lim Lee who was born in 1972 in Kyoungnam Province in South Korea is a Korean Asian Modern & Contemporary painter. He received both his BFA and MFA from Youngnam University. The figures that appear in the mysterious landscape/portrait paintings of Woo Lim Lee project the artist’s utopian desire for protection and insulation from the consequences of a rapidly expanding and fiercely competitive modern world. People look for beauty in nature, heal their wound through nature, and seek repose and meditation within nature. We dream and have a vision of another world through nature. His work is an evocation of the spirituality of modern people derived from their secret, mystic contact with nature. His work is steeped in a longing for mystic power and incantational imagery.

Mit Jai Inn (b. 1960, Buak Khang, Thailand) lives and works in Chiang Mai and is known for his distinctive color based works. Using palette knives, hands and fingers, he builds vibrant, densely layered pieces that press past the conventional boundaries of painting and hold both manual and optical labor within them.

Rooted in a rigorous physicality, the work serves as a channel for responding to aesthetic, social and political contexts, and reflects a range of histories from the traditional division between Western and Eastern painting to Thailand’s shifting political landscape. Since returning to Thailand in 1992 he has been involved in socially and politically engaged art campaigns, and he co-founded three non-institutional initiatives central to Thai art practice and discourse: Chiang Mai Social Installation, the Midnight University and The Land Foundation. In 2015 he founded Cartel Artspace in Bangkok, a gallery that gives free space to artists reflecting on the political history and present condition of the country and region, and in 2017 he co-initiated the independent Bangkok Biennale.

His traveling institutional solo exhibition Dreamworld #dreammantra was presented at MAIIAM Contemporary Art Museum in Chiang Mai, having previously been shown at Ikon Gallery in Birmingham and the Jim Thompson Art Center in Bangkok. His work has been included in solo and group exhibitions at TKG+ in Taipei, Kaohsiung Museum of Fine Arts, Mori Art Museum in Tokyo and Palais de Tokyo in Paris, and he has participated in the Aichi Triennale, the 21st Biennale of Sydney at Cockatoo Island, the Singapore Biennale and the Yokohama Triennale.

Channing Hansen was born in 1972 in Los Angeles, USA. His knitted works tread the line between painting and sculpture with their web-like construction occasionally revealing the stretcher behind.
Their relationship to craft may initially seem to be at odds with the scientific concepts informing the algorithm. However, bringing these two disciplines into dialogue allows Hansen to explore the tension between chaos and order, as the artist’s hand introduces human variability within
an otherwise programmatic composition. This is evident in the forms his textiles evoke, which might resemble tendrils of DNA, crystalline structures, or biomorphic shapes.

JEJn usually attempts to depict incomplete human nature through paintings. People today reject their underlying sentiments of fear, incompleteness, and weakness to naturally avoid them. However, the fragmentary phenomena that result from these emotions are also believed to be part of human nature, and the artist interprets and conveys these inconvenience things through his individual sense of humour and cartooning technique. He asks the audience what would happen if the heaviness and hardness of the facts that people are confronting were presented to them as a hilarious black comedy. 

Born in 1985 in Banja Luka, Bosnia and Herzegovina, Mirza Cizmic is a Helsinki-based artist who primarily works with oil on primed paper. His practice also includes sculpture, performance, and video works.

Cizmic’s artistic expression is rooted in personal experience. Rather than painting through a conventional visual lens, he interprets the world through the filter of lived experience. His artistic language is divided into two instincts: one objective and formal, the other subjective and deeply personal. This duality creates a process of moving from confusion toward understanding.

He actively engages with the boundaries between art and life, art and society, and art and activism. His role as an artist is shaped by constant self-questioning, aiming to dismantle conventional taboos, depoliticize the discourse, and highlight the core of human experience.

Tarntara earned her bachelor's degree in painting, sculpture, and graphic arts from Silpakorn University in 2014. Her art is stylized in a pop-surrealist style and presented with oil painting techniques. The softness of her brush strokes is a standout feature of her work, demonstrating high-level painting abilities. Her artwork is frequently influenced by her own intense emotions, childhood memories, dreams, and surreal fantasies. Tarntara is captivated by women's unique beauty, as well as Eastern culture and ideology expressed in a contemporary style.


ha-sunwooh explores invisible realms through painting and research, materializing inquiries in artistic practice. Since 2018, ha has been running the Vegan Art Materials Archive.

﻿I begin my work by examining the surface of worn coins, an act that calls forth forgotten civilizations rather than mere observation. Using optical and electron microscopes, 
I extend microscopic surfaces beyond the limits of the naked eye and translate them into visual language, juxtaposing additional images onto the metal.
The microscopes are not merely tools of magnification but devices that transform perception. I no longer see coins as currency, but as material records where power, belief, and identity are compressed, their cracks and textures revealing layers of time and history. I overlay these surfaces with newspaper articles, film scenes, and symbolic objects, allowing images from different eras to collide and intersect within a single frame.
For me, magnification is both a physical expansion and a metaphorical leap toward deeper perception, where scientific visuality and imagination coexist.
Ultimately, this work uses technology to reveal the unseen and question what is recorded or erased, turning the coin into a canvas for lost voices.

Gyume is interested in the form in which invisible things such as air, wind, appearance, and extinction are visualized in the digital space and overlaps the images collected through it into the actual painting space. It freely uses the large and distinct cadence and vitality created by irregular shapes and lines, flexible brushes and paint marks as if swimming in aesthetic space.

Be Takerng Pattanopas
(b. 1965, Thailand)

Be Takerng Pattanopas ’s practice emerges from twin obsessions with space within and space without. His exploration of the human body’s interior, through drawings, installations, paintings, and sculptures, symbolises the infinity of the cosmos. This might be a distinctly 21st-century preoccupation – the zeitgeist of this age as our world seems both smaller and bigger than ever.

The artist has suffered complex health issues with benign tumours in adrenal and pituitary glands. This is addressed through hybrid forms that play with symbolizations of voids, microscopic invasions of the body, and also tunnels and monoliths. The latter motif was inspired by Stanley Kubrick’s famed film 2001: A Space Odyssey, based on the sci-fi novel by Arthur C. Clarke. All the elements are precisely orchestrated by the artist so that the viewer’s experience is strangely ambiguous, or meanings appear perpetually in flux as they contemplate expansive metaphors of self.

Pattanopa’s completed a Ph.D. (Fine Art) at Cheltenham & Gloucester CHE in the UK. Solo exhibitions include Space of 25 Light Years (JWD Art Space, Bangkok, 2021); The Nerve That Eats Itself (Gallery VER, Bangkok, 2018); What I Don’t Know That I Know (H Gallery, Bangkok, 2013); Compulsive Orders (Tally Beck Contemporary, New York City, 2011); and Permanent Flux (GMT+7, Brussels, 2009). Commissions and group exhibitions include GAP the Mind (2012), i Light Marina Bay (Singapore); and SPECTROSYNTHESIS II– Exposure of Tolerance (Bangkok Art and Culture Centre, 2019-2020). He is the Director of the Communication Design Programme (CommDe) at Chulalongkorn University in Bangkok.

Edgar Plans (Madrid, 1977), categorized as the most popular Spanish contemporary artist,
grew up and is now based with his family in the northern Spanish town of Gijón. After
earning a degree in Art History from the University of Oviedo, Plans started to participate in
small exhibitions in local galleries. As of today, his works have been exhibited in Museums
such as the MOMA Museum in Moscow Russia, the Xiao Museum in Rizhao, China and the
S2A Museum in Seoul, South Korea.
Plans oil painting pushes boundaries and combines traditional techniques with modern
perspectives. He experiments with diverse styles, from realism to expressionism, creating
captivating narratives and evoking deep emotions. Through vivid colors, dynamic
compositions and innovative approaches he challenges conventions and invites the viewer
to engage in thought-provoking dialogues about identity, society and the human experience.

JiMin Chae brings images discovered in life's moments to coexist on a single canvas, constructing figurative paintings where fragments of art and everyday life, reality and unreality, collide and intersect.

To Be Honest

My Escape

Safe Place

Mind Of The Builder

One More Minute

Lifting Up Together