Hyuck Jin Oh (b.1997) is a rising Korean artist whose work delves into the emotional complexity of the human experience. His distinctive approach to mixed media combines different materials with traditional pigments, creating textured, layered compositions that convey the emotional depth and warmth of life’s spectrum. Oh's art explores themes of healing, transformation, and inner balance, reflecting both the turmoil and tranquility that shape the human condition. Through his work, he captures moments of emotional struggle while offering a sense of peace—emphasizing that even in times of hardship, there is potential for personal growth and renewal.

In addition to his fine art practice, Oh actively collaborates with the music and media industries, contributing his visual work to album covers, films, and dramas. This interdisciplinary approach expands his creative reach, deepening his exploration of emotional landscapes. His exhibition in Bangkok marked an important step in his growing international presence, further establishing his unique voice in the global art scene. Through his art, Oh invites viewers to reflect on their own emotional journeys, offering a message of hope and transformation—that by confronting and overcoming adversity, one can make positive memories shine even brighter.

Candice Joo creates paintings and sculptures of chains to explore notions of individuality, collectivity, and the potential powers in each. Joo’s tensely arranged yet tightly interconnected landscapes of chains are where she reimagines ideas of the empowered self and of collective power. Joo received her B.F.A. from the Parsons School of Design in New York City. Select solo exhibitions have been held at Jang Design Art Gallery and Punto Blu in Seoul. Joo’s work has been featured in group shows at Helen J. Gallery, USA and Art Fairs and collaborated with Tiffany & Co., New York/Beijing.

Rooted in the principles of Eastern painting, Hong Seonghwa expresses the rhythm of emotion through line and void. Her controlled strokes carry inner vibration, and the spread of ink leaves traces of time and sentiment. By blending traditional technique with modern composition, she visualizes the breathing and movement of feeling. Her work resonates like a silent rhythm, inviting viewers to look inward and sense their own emotional echoes.


SAMBYPEN is a pop artist who reinterprets contemporary popular culture through parody and humor.

Drawing from familiar imagery—corporate mascots, internet memes, cartoons, and masterpieces—his work questions the boundary between the real and the artificial.
Working across drawing, digital graphics, painting, and street-based practices, he pursues an accessible language of art for everyone.

Weedong Yoon (b. 1982), an artist based in Korea, explores the cyclical nature of existence through hyper-realistic paintings. His work reflects themes of growth, struggle, and transformation, often using stones and sand as metaphors for renewal and completion. In his Monologue Series, Yoon portrays the journey of a stone passing over sand—its rough, intense moments symbolizing life's challenges, while the smooth, settled sand represents the serenity of life's fruition. This series encourages viewers to reflect on their own resilience and beauty, despite external struggles, and underscores the transformative power of time.

In addition to the Monologue Series, Yoon's works featuring birds further explore themes of harmony and balance. These birds symbolize connection, transcendence, and the unseen forces that sustain the natural world. They embody the delicate equilibrium between opposing forces—East and West, abstract and concrete—and highlight the importance of quiet actions in maintaining the world’s cycles. Together, these works prompt deeper contemplation of life’s interconnected processes.

Yoon’s art is rooted in the belief that all things ultimately return to nature. His recent participation in the “Find the Nature” exhibition at Objecthood Gallery reinforces this idea, emphasizing the link between the natural world and human-made creations. With a keen eye for detail, Yoon’s paintings invite introspection, offering viewers a space to reflect on the cycles that shape both the world and our lives.

Seo Jaejung’s work explores the translation of perception and spatial sensibility into visual form. Drawing from architectural environments—described as “a space within a space”—she uses elements such as columns, stairs, and arches as mediators that generate layered visual associations. Her compositions often begin with a single line and unfold through the deconstruction and recomposition of architectural structures, revealing psychological forms that exist between completeness and incompleteness. These processes create an “architectural psychological space” where reality and unreality, reason and emotion, intention and chance coexist. Through such multilayered structures, Seo seeks to develop a painterly language that blurs the boundary between two- and three-dimensional space, offering an expanded experience that opens onto another realm.

Japanese artist Ken Kagami is known for his brashly humorous and playfully erotic works that involve stuffed toys, exposed genitals and bodily functions. Often merging Pop figures with bizarre, appropriative add-ons or colorful appendages, Kagami challenges contemporary Pop art sensibilities. The artist is also known for his collaborations with the band Deerhoof and since 2010, Kagami has operated the Strange Store, a retail space in Tokyo that sells clothing, objects, and printed ephemera.

Yunhee Lee has reinterpreted Dante's "The Divine Comedy," a collection of Western religious/mythological worldviews and narratives, in a "saga of a girl who overcomes life's adversity and pioneers her way to destiny," building her own narrative and worldview rather re-presenting. Through this exhibition [The Stigmata], the artist hopes to bring light to her narrative based on the worldview she has meticulously built, about “desire and anxiety,” the essence of human nature, and “healing”, the process of overcoming them.

The artist produces each unit and completes the work by recombining them, which is similar to the way classical narratives are weaved into the artist's works. In this process, traces of iconography that crosses various boundaries can be seen, ranging from medieval European altars, baroque styles, grotesque patterns, to traditional Buddhist paintings (speciﬁcally Gam No Taeng Hwa) and historical paintings. These function as a universal and vast narrative device found in traces of history. If 'desire and anxiety' are viewed as the essence of human nature, these traces would eventually manifest into sacred remains unearthed from the process of overcoming the essence. However, in the present, we no longer discuss the stories of overcoming life and death, that is, the mythological narrative.

At this point, the artist views the process of overcoming the essence as the process of "healing" and newly constructs and recreates the story by implementing diverse methods of visualization. Each work, which is completed with a combination of various demarcated units, seems somewhat heterogeneous and contradictive, but performs as an individual allegory. Through a dialectical process, the viewers are able to reach the artist’s interpretation of “healing” that she intends to convey.

Life imposes various pains and wounds on men stemmed from desire and anxiety, but as humans grow through the process of pushing through them, desire and anxiety rather become powerful intrinsic driving forces. The wounds and pains may in fact be the stigmata of the process of striving to ultimately reach a better future. The dreamy imagery of the works resembles the moment of breaking free from pāramitā, of us when we wept vigorously from the intense shock of birth, ﬁercely ﬁghting against pain of life.

Jonghwan Jin is currently living and working in Seoul, South Korea, where his work is based on painting. He continues to think about the possibilities of expression within the category of painting. He develops abstractions of the invisible but slowly changing landscapes, such as the temperature, humidity, and wind direction felt when welcoming a new season. By implicitly expressing the forms of sensation that exist beyond the visible visual image, he is searching for his painting style.

Ursula Palla was born 1961 and grew up in Chur, today she lives and works in Zürich. In her work she interlinks video and room sculptures and works with sensitive materials such as moulded sugar, coal dust or snow. The fragility of nature and wild life is the focus in many works. On a first level an enchanting aesthetic make these accessible. Yet all works are based on comprehensive research, and only its knowledge completely reveals the depth and urgency of the work. The video and room installations by Ursula Palla are poetic and at the same time show up voids that often leave behind a stale feeling and remind us of our responsibility towards nature and environment. This makes the artist’s work highly topical.
While in Ursula Pallas’ early work the accent was on the human being as a figure between appearance and disappearance, after 2000 the plant and animal world came into focus as motifs. The artificiality of nature crystallises ever more clearly as the central theme of the multimedia oeuvre.


Pollawat Samidee, an artist from Silpakorn University, Faculty of Painting, Sculpture and Printmaking. He has re-ceived many awards, such as BEST INDIVIDUAL- MONTMARTRE GOLDEN BRUSH 2017, North Macedonia, and First Prize 20 17 International Art Festivals in Japan Polawat has participated in the group exhibitions Please to meet me (2023).The first solo exhibition with Number1gallery in the exhibition "IDENTITY?" (2023), and the second solo exhibition HABITUS (2024).

Faozee or Narathip Leewan (b. 1998) is a Thai contemporary artist whose visual language speaks directly to the heart. A graduate of the College of Fine Arts and later the Faculty of Fine and Applied Arts at Chulalongkorn University, Faozee discovered his love for art at a young age and has since regarded it as a “language of emotion”—a way to communicate thoughts and feelings without the need for words.

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.

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).

Park Mira observes emotions, exploring where they originate and what factors contribute to their
formation. While acknowledging that emotions are largely personal and subjective, she is interested in how emotions can be construed and interpreted within the context of society. She primarily works with black materials to carve out images and narratives that emerge in the space between consciousness and the unconscious.
She stages uncomfortable and discordant situations at the boundary between reality and the imaginary, exploring narrative structures that unfold simultaneously within the frame. She seeks to connect spaces, stories, consciousness, the unconscious, the virtual, and the real, using mediums such as drawing, animation, instalation, and painting.
Park Mira has held solo exhibitions including 《Pairing》 (2023, SeMA STORAGE), 《Interlude》 (2022, Art Space Boan 2), 《Walk In The Dark" (2020, A-Lounge), and 《The Waves at Night》 (2019, Gyeonggi
Museum of Modern Art Project Galery). She has also participated in group exhibitions such as 《Between Shot》(2023, Galery In HQ), 《Kaleidoscope》 (2022, A-Lounge), 《Over and Above》 (2022, DooNamJae ArtCenter), 《Mappin Memory: The Bunker》(2022, SeMA Bunker), 《Guide Mark》 (2021, Galery In), 《What if》 (2021, A-Lounge). In 2023, Park Mira was honored with the “Chongkundang Yesuljisang” and recognized as a “SeMA Emerging Artists &Curators” Park Mira is currently participating in a residency program at the Suwon Art Studio after completing residencies at the Gyeonggi Creation Center in Residency Program and the Cheong-ju Art Studio.

Surachai Mawornkanong, also known as Niam Mawornkanong, is an established
Thai artist specializing in intricate acrylic painting on canvas. He used his art to captivate audiences' attention then set them free to explore their own subconsciousness.
Though possessing degrees in philosophy and fine art, the majority of his technique
is self-taught and compliments the fact that he is colorblind. His work also displays a
versatile vision ranging between abstract principles and realistic portraiture.


In Jihee Kim (b.1983)’s work, bodies that are susceptible to falling into the trap of general perception or completed sentences are repeatedly dismantled, becoming ambiguous components. She believes that the possibility of new meanings emerges from the indeterminate state of these objects and incorporates various icons into the movement of color and line. Kim has been working on the Garden series, where she replaces the emotional quandaries individuals face in relation to a community with mesmerizing images of natural objects. Each work serves as a stand-in for universal human emotions, metaphorically revealing the shared experiences of sadness and compassion, happiness and desire. In her recent works, the vivid sensations she experienced at Domaine de Boisbuchet in France are intertwined with the silhouettes of objects she captured in the garden at night. The layers of detailed symbolic imagery evoke the energy an individual might feel amidst infinite nature.

Kim holds a Doctor of Fine Arts degree from Ewha Womans University and is currently an Assistant Professor at Dongguk University College of Art. She has held solo exhibitions including at PLATFORM-L(Seoul, 2023), ThisWeekendRoom(Seoul, 2022), PYO Gallery(Seoul, 2022), Soorim Cultural Foundation Art Center(Seoul, 2021) and Gallery Planet(Seoul, 2021). Kim has also participated in various group shows, including at Kyoto Tsutaya Books(Kyoto, Japan, 2024), Posco Art Museum(Seoul, 2023) and Osan Museum of Art(Osan, 2023). Kim was selected as the artist for the 2023 Youngmin International Artist Residency Sponsorship by the Hanwha Foundation of Culture, named a 2020 New Hero by Public Art Magazine and recognized as the 15th Kumho Young Artist. Her public collection includes Government Art Bank of MMCA, Seoul Olympic Museum of Art, OCI Museum of Art, Kumho Museum of Art, and UNIQLO Korea.

Li Erpeng graduated from the Oil Painting Department at the Central Academy of Fine Arts (CAFA) in 2018, and he currently lives and works in Beijing.
​
He has received First Prize for the Fine Arts at CAFA, the Inter Youth Artwork Award (2015), the Inter Youth Innovation Award (2016), the Originality at the Academy New Talent Award and the Outstanding Artwork Award from the Oil Painting Department at CAFA (2016). His graduation work Objects from an Ideal World was added to the permanent LYC Collection (CAFA Art Museum). In 2020, his work was collected by White Rabbit Gallery in Australia and recommended by TARGET magazine.

I work primarily with oil paint, applying it with intention but disrupting it before it sets. While the paint is still wet, I smear it with a towel—blurring, lifting, softening. In these gestures, I relinquish control and make space for chance. Sometimes the towel removes an image I thought I needed. Other times, it leaves behind a trace more evocative than anything I could have deliberately created. The smearing becomes a collaboration between my hand, the material, and the moment.

Yihyun Kim draws about the futility of "wish." In her paintings, the theme is revealed in intense colors, an image of the deity with the motif of "Tanghwa," and the back of the wreath. The blindness of someone's act of continuing prayers even though they guess that their prayers will not be fulfilled indicates the back of what we desperately wanted, what we wanted to avoid the most. She earned a bachelor's degree from Hongik University's Department of Metal Art & Design and Oriental Painting. Currently, she is attending the Graduate School of Oriental Painting at Hongik University.

Born in Tehran, Iran in 1972, Golnaz Fathi is an influential member of a currently thriving generation of artists to surface in Iran over the last twenty years.
Fathi investigated ever more abstract forms of representation, using modern media to aid these explorations, while still basing her work on fundamental calligraphic practices and techniques. The introduction of bold swatches of colour further emphasised her transition from a codified system based on prescriptive rules to an alternative idiom that gave precedence to her own imaginative modes of subjective expression.

Tae Woo reinterprets traditional Korean landscape painting through a contemporary sensibility, grounding his practice in wayu (臥遊)—“traveling while lying down”—to paint landscapes of memory and imagination rather than literal scenery.

His recurring motif, Gasuho (家守虎)—a “home-guarding tiger”—carries a Korean folk-painting (minhwa) spirit, echoing the folk-inflected tiger imagery recently popularized in Netflix’s animated film KPop Demon Hunters. Birds and children symbolize family and intimacy, reflecting on ways of living and the warmth of relationships.

He gained public recognition after winning KBS2’s No Money No Art (2022), presented HOHO Garden at Gana Art Park Museum (2025), and has released NFT drops via Upbit.

Turakella Gyindo (Tura) is a Tanzanian multidisciplinary artist and curator based in Dar es Salaam, whose practice spans painting, installation, and live performance. Inspired by human nature and its adaptation to a rapidly changing world, she explores themes of intersectionality, identity, and belonging — envisioning a sense of self that extends beyond rigid social categories. Since completing the Curatorial Practice and Art Management programme at Nafasi Art Space Academy in 2021, she has curated and presented work across exhibitions and residencies in Tanzania, including at Alliance Française and the Goethe-Institut Dar es Salaam.

Inner Child

Room Flower

Flower

Room No.410

Natural heart

Silent Wishes

Standing Alone

At the park at 2am

Step toward the Light

Morning

Rest

For a Cozy Shadow

Fly with the birds

Blossom Perch

Hug of the Forest

Blooming

A dark but bright day

Fleeting Light, Endless Hope

Together

Resting Place

A pond at Night

Room No.401

Room No.405

Nonstop

Blooming from the calm

The Garden Within Me

Slowly, like the seasons

Longing in Reflection

Heads Bowed in Thought

Forever

Accidental romance

Condolence

Letting go

Love Reflection 23_02

Stumbling On Love

Serenity_22

Serenity_25

Serenity 32

Serenity_33

Serenity_31

Serenity 39

Serenity 36

Serenity_37

Serenity 30

Serenity_35

Serenity_34

Serenity 38

Serenity_40

Serenity_29

Ninja Turtles

Machines Of The Future

I Want A Burger

Bomb

Dalmatian 2

Friendship

Bombie Face 5

Dali

Costumes

Monologue 828

Monologue 2

Monologue 727

Monologue 816

Monologue 795

Uncertain Organic Space 25

Uncertain Organic Space 20

Uncertain Organic Space 21

Uncertain Organic Space 22

Uncertain Organic Space 26

Untitled

Picasso with pushpin # 16

Picasso with pushpin # 12

Picasso with pushpin # 11

Picasso with pushpin # 10

La Divina Commedia

The Castle Of The Spider's Web

A forest froze in a dry state

Dry Wood

Cypress

Herb and Weeds 130

Herb and Weeds 105

Empty Garden 3

Shade of Flowers 1

Shade of Flowers 2

Between Metal and Memory

Astronaut

The Silent Gaze from Beyound

Wasteland

We Still Light the Candle

Space Cafe

Who Am I?

Parallel I

Parallel II

The Prophet

A World Of My Own

Homunculus

Notification On

Nothing out there

Cosmic Dreamer

Artificial Eden

In the Name of Progress

The Infinite Identities

Untitled 18-2

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 18-1

Kim Yong-lk

Utopia 18-6

Piopiotahi (A piopio bird)

Hokitika (The Water of Green Jade)

Purakanui (The Legendary Mythical)

Along with you

Apricot Flower

Living Together

What only the light can do

Door of Night

The Never-ending Night

Knock

Take root

Crevice

House Warming

Looking for Blue

Looking for Red

Provinces

Boisbuchet Night No.4

Boisbuchet Night No.3

the Oblivion of Time

Functions

IRIS

Yellow Table, Fresh Air, Sour Flavour 3

Scent of Winter

Tea Room

The Moon during the Day

Brown, Leaf, Sunset

Taste of Green

Yellow Table, Fresh Air, Sour Flavour 1

Nuances of Blue

Brownish Sky

Taste of Blue

Fruity Blue

Still Table

Still life

With the Flower

Dalmatian

Nostalgia

Pray 1

Pray 2

Those who look down at

Dream Journey Landscape (臥遊⼭⽔) ‒ Guardian Tiger (家守虎圖)

Dream Journey Landscape (臥遊⼭⽔) ‒ New Peach Blossom Spring (新武陵桃源圖) (8-3)

Dream Journey Landscape (臥遊⼭⽔) ‒ New Peach Blossom Spring (新武陵桃源圖) (8-2)

Dream Journey Landscape (臥遊⼭⽔) ‒ Baesanimsu (背⼭臨⽔圖)

Dream Journey Landscape (臥遊⼭⽔) ‒ Together with Spring (偕春圖)

Dream Journey Landscape (臥遊⼭⽔) ‒ Early Blossoms (早花圖)

Dream Journey Landscape (臥遊⼭⽔))_Gear Second

Dream Journey Landscape (臥遊⼭⽔) ‒ Chochungdo (草蟲圖)

Dream Journey Landscape (臥遊⼭⽔) ‒ Twin Owls Beneath the Night Lamp (雙鴞夜燈圖)

Dream Journey Landscape (臥遊⼭⽔) ‒ New Peach Blossom Spring (新武陵桃源圖) (8-1)

How do we remember things

The bottom is Closed I'll sit alone I

The bottom is Closed I'll sit alone III

The bottom is Closed I'll sit alone II