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.

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.

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.

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.

Soyoung Kwon observes nature through an intuitive lens, translating it into reimagined landscapes on canvas. For her, nature is a presence that quietly seeped into her life—almost like destiny. Through a deep sense of communion with the natural world, long-buried emotions and sensations within her begin to awaken. She attentively observes fleeting moments and subtle natural phenomena, exploring them through instinct and sensitivity. The resulting landscapes merge the physical world, the sensory realm, and the invisible—creating spaces where the boundaries between what is seen, felt, and imagined begin to blur.
She absorbs surreal moments in which the boundary between self and nature fades, allowing them to flow through her entire being. These impressions are expressed fluidly on the canvas, shifting with her subjective and momentary states of consciousness. As they intermingle, they give rise to new synesthetic imagery. Her paintings go beyond depicting scenery—they exist as living flows where sensation and emotion are organically intertwined. Through this, she gently reveals the intricate interconnectedness of all things, offering a contemplative and poetic way of engaging with the natural world.

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.
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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.

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.

Born and raised in Bangkok, Thailand, Chonnapas Yokyai (ฺBorn in 2000) is an artist graduated from the Faculty of Fine Arts, majoring in Painting, Sculpture, and Printmaking at Silpakorn University. Her works are symbolic and transcendental paintings. Fueled by her interest in everyday life from a feminist perspective, her art endeavors to explore the answers with the societal framework she confronts. Through vibrant and surrealistic paintings and subtly veiled figurines, she casts a spell, inviting viewers to interpret and explore through their own personal experiences. Her art portrays a peculiar and twisted scape, inviting people to interpret and explore through their own personal experiences. 

Chonnapas became well-known among collectors from the group exhibition ‘Utopia’ (2024) at River City Bangkok and the group exhibition ‘Perplexa Scenario’ (2024) at Joyman Gallery.


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