Tina Braggar, as a conceptual artist, explores themes of originality, reproduction, authenticity, repetition, and difference in her work. Since 2011, she has been investigating these ideas through the “dancing bear,” a symbol associated with the 1970s American rock band The Grateful Dead. Braggar’s interest in the bear is largely unrelated to the band’s music. Instead, her artistic practice focuses on how this counterfeit icon challenges notions of the official versus the unofficial and the original versus the copy, concepts inherent in our extractive relationship with nature and culture.

“Unlike my unstable self, who might suddenly disappear or explode, I was drawn to the beautiful stability found in the order and systems of physics.” Hyojeong Son (b.1987) begins her work from this contemplation. Her practice is deeply rooted in an inquiry into physics and mathematics, which she interprets through visual language. Simple symbols and geometric forms serve as the foundation for carefully constructed compositions, imbued with balance, direction, and structure. Her complex visual systems incorporate light, space, and collage to transcend linear time and express invisible forces. Son’s work operates as both a visual investigation of physics and a poetic bridge between science and art.

Eunju Kim attempts to sense light and capture it as a unit of particles and waves. After earning a bachelor's degree in Western painting at Chung-Ang University and a master's degree in the School of Fine Art at the graduate institution, she is exhibiting her works in various venues. The artist creates her own artistic universe by casting light and circular units over all objects. Focus on the shape of light projected onto the object rather than the object itself, and consider the origin of visible and invisible beings and include them in her works. 

Haechan Kang is a painter who explores the subtle atmosphere embedded within everyday spaces. The artist believes that “nothing is truly empty,” suggesting that even seemingly vacant places are filled with invisible elements—light, humidity, temperature, and traces of emotion and memory. Kang’s paintings attempt to visualize these intangible sensations through layered colors and delicate brushwork.

Rather than depicting dramatic narratives, Kang focuses on moments when familiar environments suddenly feel unfamiliar: a playground that gradually cools into silence at dusk, or the violet light that settles between sunset and night through a window. These fleeting shifts create the sensation of encountering another dimension within ordinary life. By capturing such moments, Kang transforms everyday landscapes into quiet, contemplative scenes.

The artist frequently employs the motif of a window, suggesting a passage between inner perception and the outside world. Kang’s works function as visual portals through which viewers can pause, reflect, and reconnect with subtle emotional states embedded in daily life. Through layered brushstrokes and carefully composed color fields, the paintings invite viewers to experience atmosphere itself as a living presence.

Influenced by Dansaekhwa, the Korean monochrome painting, and the Japanese Mono-ha movement, Kim Yong-Ik established his career in the late 1970s with his Plane Object paintings, a series of airbrush paintings on unstretched canvases that relate to these traditions. In the 1980s, having completed a thesis on Marcel Duchamp, Kim moved from the ‘Plane Object’ series to more abstract and geometric languages. During the 1980s and 1990s, he developed increasingly experimental work by using scraps and thus including forces greater than his own imprint, such as stains, hair or dust. By the early 1990s, Kim develops his “polka dot” series consisting of paintings depicting simple and serialized arrangements of circles.

In 1999, Kim helped establish one of Korea’s leading exhibition spaces known as “art space pool.” He participated in the Gwangju Biennale in 2002; in “SeMA Gold 2012: Hidden Track,” an exhibition at the Seoul Museum to shed light on stellar artworks by mid-career artists of Korea; and the 5th Yokohama Triennial in 2014. In 2016 Kim was the subject of an extensive retrospective at Ilmin Museum of Art in Seoul. His first exhibitions in Europe were at Spike Island, Bristol, and a partner exhibition at the Korean Cultural Centre UK, in 2017.  Kim Yong-Ik’s works are part of the permanent collections of the National Museum of Modern and Contemporary Art, Seoul Art Museum, Leeum, Samsung Art Museum and Tokyo Metropolitan Museum of Art, and the Museum of Contemporary Art in Los Angeles, among others.

Jourdain Jongwon Lee is sculptor, and artist based in New York. He moved to the United states from Korea in 2010 and had M.F.A. from Long Island University. He has been working on his ‘Golem’ series since 2008 through Seoul to New York. The name of series, Golem is originally from Jewish folk lore. Golem is an animated anthropomorphic being, created entirely from inanimate matter. The Golem series is connected to the idea of protection, guardian, and golem which is connected to shamanism in Korea.

Twenty-one artists were invited to pay homage to Goya: Fernando Arrabal, Miquel Barceló, Beatriz González, Jenny Holzer, Cristina Iglesias, Anne Imhof, Alfredo Jaar, Koo Jeong A, Alexander Kluge, Robert Longo, Cildo Meireles, Precious Okoyomon, Philippe Parreno, Raymond Pettibon, Elena Del Rivero, Rachel Rose, Thomas Schütte, Santiago Sierra, Rosemarie Trockel, Luc Tuymans, and Adrián Villar Rojas.

Sahapap Lertsamatijit holds a bachelor's degree from Silpakorn University. He has participated in solo exhibitions with Number1Gallery Formation of Nightmare (2022), Reflections of a nightmare (2024), I AM ORIGINNAL 3 (2019), Begin Again (2020), Hotel Art Fair 2022, and participated in the international stage Art Busan 2023.

The characters that form the motifs of my work are common images that I have created. They are given a writing order and symbolized, and the process of preservation and change in the repetitive writing is established in the work as several afterimages, like time-lapse photography. Whenever the viewer sees a character that he or she does not remember, the difference between his or her memory and the work is evoked and referenced to the character in his or her memory, and this process reconstructs the work as a painting with intensity. The work also serves as a device to strengthen the connection between the viewer and the character with feelings of "I don't understand" or "What is this?", and as a record of a living person, not only as a work of art, but also as a portrait with an aspect as a recording medium.

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 the act of sculpture, which involves cutting, gluing, and chipping away at materials, He is experimenting with rethinking the process and structure of sculpture. He views the act of sculpture as a process of simulating the form of a large sculpture through drawings and small maquettes, rather than simply accumulating masses, and also as a process of reconsidering the internal structure of the sculpture, the hierarchy of masses and surfaces, and revealing the traces created in the gaps of such sculptures. Rather than creating a single direction, the artist explores the act of sculpture and the form of sculpture derived from it, which is directed in multiple directions to perceive the space-time of reality in different ways.

Cildo Meireles creates complex installations and sculptures that entice the viewer and challenge political, philosophical, and aesthetic precepts. Meireles’s artistic practice was shaped by the social and political conditions during the dictatorship of Brazil in the 1960s and ‘70s, and by the Neo-Concretism and avant-garde movements. Like his predecessors, Meireles merges physical, cerebral, and sensorial elements in works that elicit audience participation.  While Meireles’s works are often created in response to specific political events and situations, they evoke universal themes that are communicated through the viewer’s experience in a shared, rigorously designed and defined space.
Meireles’s work has been exhibited internationally, including the Biennales of Venice, Italy (1976, 2003, 2005, 2009); São Paulo, Brazil (1981, 1989, 1998, 2010); Documenta, Germany (1992, 2002); and Istanbul, Turkey (2003, 2015). The artist has been the subject of several large-scale and traveling solo exhibitions at renowned institutions, including Sesc Pompeia, Sao Paulo, Brazil (2019); Centro Nacional de Arte Contemporaneo Cerrillos, Cerrillos, Chile (2019); Fundação de Serralves, Portugal (2014) HangarBicocca, Milan, Italy (2014); Museo Nacional Centro de Arte Reina Sofía, Spain (2013); Museu d’Art Contemporani de Barcelona, Spain (2010); Museo Universitario Arte Contemporáneo, Mexico (2010) and Tate Modern, England (2008).

Ping Hatta (b. 1990), is an artist whose work explores the intersection of strength and softness within femininity. Inspired by personal narratives, nature, and everyday moments, she paints vibrant, surreal portraits that capture the nuances of womanhood—both its resilience and vulnerability.

LeeEu removes all figurative elements to focus on the materiality of the medium. The artist invites us to a sensitive and highly pictorial experience. We stroll through the fundamentals of painting: gesture, material, color. Sometimes the fleeting image of moss, of furrows dug by the wind. But soon, pure pictoriality takes over in the pleasure of colors and the overflow of elusive materials moved by an internal and mysterious movement. It was during her time as a fine arts major student at Hongik University (Seoul) from which she graduated in 1999, that she learned from the great masters of Dansaekhwa, a Korean non-figurative painting movement born in the 1970s. LeeEu’s love for the fine arts was cultivated and fostered through this experience and is still prominent in her work today. She arrived in France in 2003 and attended the school of decorative arts (École des Arts Décoratifs) in Strasbourg. In 2007, a diploma in hand, she entered a 16 months residency at the Cité Internationale des Arts in Paris. Having these new experiences, as well as encountering artistic movements such as Supports/Surfaces, allowed the artist to broaden her artistic horizons.

Mr Doodle began to garner recognition in the art world in 2017 and has since seen a meteoric rise in interest in his work. He stands at the forefront of a new art wave, taking the online art community by storm with a mass social media following. Truly a millennial artist, his works provoke discourse on what we consider fine art today.
Mr Doodle’s works transcend beyond the canvas, invading furniture, big surfaces, clothing, and more. Like other artists of his generation, he also explored a number of collaborations with iconic brands, including Fendi, Puma, Samsung, Disney and MTV to begin with. But where Mr Doodle
separates himself is in his sense of purpose: a deep and obsessive compulsion to expand and share his vision of his DoodleLand. As a form of release or meditation, his process is fluid, therapeutic, unrestrained, and without hesitation, as if channeling directly from his world into ours with great stamina. He ultimately seeks to spread a sense of wonder, happiness, and love.

The artist records vanished neighborhoods and landscapes, translating memory and loss into painting. The city is reimagined not as a real place, but as a layered, emotional space shaped by time and perception. What remains is a self-portrait, constructed through the memory of a city that no longer exists.

Adam Bazlik is a cross‑media artist and creative director whose work spans branding, fashion, motion graphics, and designer art toys, blurring the boundaries between design, storytelling, and crafted visual identity.

He is an artist who moves between painting and installation, visually interpreting the remnants of the city and fragments of memory. Using materials such as acrylic, resin, and recycled elements, he explores layers and transformations of texture, creating works that evoke the process of urban walls being repeatedly painted over and peeled away.

Wu Wei was born in 1981, Zhengzhou, Henan Province, China. In 2012, Wu Wei graduated from the Experimental Art Department of the Central Academy of Fine Arts with a master's degree and now lives in Beijing.
He won the 6th Anniversary Award for the New Ar=sts Space Award in 2015, and won the 3rd New Star Art Fes=val Art Award in 2012. He par=cipated in interna=onal art residency in Vienna, Austria and Berlin, Germany. His works have been exhibited in Tang Contemporary Art (Beijin,Bangkok), Ipswich Museum(England), Ichihara Lakeside Museum(Japan), Power Sta=on of Art (Shanghai), Zhejiang Art Museum, Beijing Minsheng Art Museum, Art Museum of Nanjing University of the Art, Whitebox Art Center (Beijing), Blue Top Art Gallery(Chengdu), MOCA Yinchuan, Host Cloud Art Museum, The Shouter(Shanghai), Leonard Pearlstein Gallery (Philadelphia, U.S.A), Asian Library of University of Bri=sh Columbia (Vancouver, Canada), HuA Gallery (Berlin, Germany), Migrant Bird Space (Berlin, Germany), GlogauAIR(Berlin, Germany), FLUC Art Space (Vienna, Austria), Gallery SP(South Korea,Seoul) and many other art ins=tu=ons; public collec=ons includes Minsheng Modern Art Museum, The Museum of Central Academy of Fine Arts, Whitebox Art Center, Today Art Museum, Being3 Art Founda=on, White Rabbit Gallery (Australia) and other ins=tu=ons.

Kwak Soo Young is an artist whose practice explores memory and inner time through light, line, and the material layers of painting. After graduating from the Department of Painting at Hongik University, he moved to France and earned an M.F.A. in Plastic Arts from Paris 8 University. Since then, he has developed a distinctive painterly language while working between Korea and France. In Kwak’s work, light is not simply a physical phenomenon that illuminates the visible world; rather, it becomes a medium through which memories, sensations, and images buried deep within the mind gradually emerge.

Jojo Anavim is an American contemporary artist recognized for transforming the language of consumer culture and brand imagery into a distinctive artistic vocabulary. Drawing from his background in graphic design and marketing, Anavim incorporates familiar logos, advertising icons, and cultural symbols into his work, reassembling them with expressive brushwork and layered textures. His paintings capture both nostalgia and critique, reflecting on how mass media and consumer goods shape collective memory and personal identity. By merging commercial aesthetics with painterly gestures, Anavim situates his practice at the intersection of popular culture and fine art, continuing the legacy of contemporary pop art while infusing it with his own autobiographical narratives.

Attempts to interpret the image of flowers as a visual language of emotion, exploring the theme of “recording emotions through flowers.”

July

October

January

April

Information Enters the Curve

Wave

Lump of Water

Green Wave

Wavy

Two Birds

Star

Cloud Wave

Love

Wave of Light

Little Moon

Cloud Tree

Rainbow Sky

From a far

Rose

Moon

Kobus magnolia

Light of Sky

Particles of light

Shape of night

Lump of water

Wave of Sky

Light

Sunset

Round light

Shape of water

Light of night

Summer Drop

Lake

Shape of Wave

Wavelength

Lily

Waterlight

Night of Waiting #2502

Drifting Togeher (feat. Ukiyo-e Waves)

With You (feat. Riverside Night)

If You Come, I’ll Be Happy #2502-1

With You (feat. On the Way to the Bean Field #2601)

With You (feat. On the Way to the Bean Field #2602)

Night flight

Frozen window

Silent blue

Summer night 8

Moon shower

Moon tree

Summer night 2

Summer night 1

January light

Utopia 18-6

Utopia 18-5

Utopia 18-4

Utopia 18-3

Utopia 18-2

Utopia 18-1

Untitled 18-6

Untitled 18-5

Untitled 18-4

Untitled 18-3

Untitled 18-2

Untitled 18-1

Kim Yong-lk

K250201

Untitled

K220000

K250812

K230507

K250723

K211220

K211222

K220624

Golem

Ever Goya, Revue

Ever Goya THE PRINT PORTFOLIO

The cursed

The Primal Land

Do You Have Bad Dreams?

The Day of Waiting

The Fugitives

Study_for_Null_Portrai t of someone#205

Study_for_Null_Portr ait of someone#138

What to see in repeated portraits #029

Frances Ha

ARTUE

Isn't it sweet?

Mooood triplet

Quarter Torso

Leg (Wu)

Upper Half Body (Wu)

Hand

Cildo Meireles, Revue

Shit Coin, limited edition including original artwork

Matière paysage 

Peinture en question

Gribouilis 

Matière paysage

Mrs Doodle Watering the Flower Forest

Sandy Ghost

Turvy Towers

어떤 도시조각

여기는 blue

내 우주는 돌고 돌아서

CYRCON

Urban Palimpsest 25-08-152

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Singularity Reborn 25-07-121

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Giallo Ignition

Rosso Protocol

Unfinished Scaffolding 25-00-156

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Urban Palimpsest 25-08-11

Singularity Reborn 25-07-158

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MAYFLY 25-01-116

Urban Palimpsest 25-08-157

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Stripes-8

Stripes-10

Jeu de lumière 26-V

Jeu de lumière

Passage éphémère-III

Esquisse de jeu de lumière

Jeux de lumière 26-II

Voyage immobile 22-V

Passage éphémère

Sans titre 8-II

Voyage immobile 23

Voyage immobile 25-IX

Voyage immobile 25-VIII

Spongebob

King Cone

Chocolate Cone

Dream Machine (Satellite)

Silly Rabbit

Dream Machine (Claw)

Life is Good

Always Look Up (Snoopy)

Sprinkle Cone

Snow Cone (Blue)

Artists