Eventually, the scenery of the world is transformed into each person’s unique picture plane. Yuki SAEGUSA (b. 1987) aims to capture the subjective world reconstructed in consciousness by an individual's complex memories and perspectives on the canvas. The title of Kukuzen "Tent" (2022) derived from a passage in Zhuangzi's “Dream of Butterflies.” The word pronounced as ‘Kukuzen (栩栩然)’ in Japanese is an onomatopoeic word expressing the appearance of a butterfly flying. A small tent appears in the middle of a surreal field delicately depicted with a fine brush. A small unidentified animal in the lower right corner of the screen is busy exploring an unfamiliar world. The artist emphasizes that both the reality of everyday life and the world within the painting are her true present.




Yuki SAEGUSA was born in Nagano, Japan, in 1987. She received her BFA in Oil Painting at Nagoya University of the Arts  in 2010. She has held solo exhibitions at various institutions such as Gallery A (Shizuoka, Japan, 2022), Yebisu Art Labo  (Aichi, Japan, 2022; 2017; 2013; 2012), as well as group exhibitions held at ARARIO GALLERY SEOUL (Seoul, Korea, 2024), Bunkamura Gallery (Tokyo, Japan, 2023), ARARIO GALLERY SHANGHAI (Shanghai, Korea, 2022), Ginza Tsutaya Books (Tokyo, Japan, 2021), Nagoya Denki Community Hall (Aichi, Japan, 2017) and more. Her works are collected by institutions such as Nagoya University of the Arts, and more.

Alex Face (Patcharapon Tangruen) is a renowned Thai graffiti artist celebrated for his thought-provoking street art that transcends boundaries in Thailand and beyond. In 2009,
inspired by his newfound fatherhood, he introduced a distinctive three-eyed, bunny-eared character symbolizing innocence and wonder. Known for his street art skills and mastery of European old masters' techniques, Alex Face has seamlessly blended traditional and contemporary elements. In 2022, he marks two decades in the realms of street art and BANGKOK CITY CITY GALLERY fine arts, leaving an indelible imprint on the urban landscape and art scene worldwide


Phichai Keawvichit (b. 1975) is a talented photographer characterized by his minimalist photography of architecture, gaining a reputation from his Instagram with 80,000 followers and interview articles by several media. He presented many photography exhibitions in several locally famous photo galleries such as Accidentally Professional Exhibition (2019) in Silpa Bhirasri’s House, Unlock solo exhibition in 2019 at River City Bangkok, Urban Progress group exhibition in 2021 at Bangkok Art & Culture Centre, and this latest one The Memoir of Movement in 2022 at River City Bangkok is regarded as his second solo exhibition. Aside from photography, Phichai loves writing to share his insightful stories. He is currently the ‘Ekaphab’ columnist publishing his articles in Matichon Weekly.


Sophie-Yen Bretez is a self-taught ar=st currently living and working in Paris. Originally from Vietnam, Bretez moved to France when she was 4 years old, providing her with a rich fusion of cultural heritage oDen reflected in her mul=faceted ar=s=c prac=ce. ADer comple=ng a master’s Grand École at Neoma Business School in Rouen, France in 2018. Bretez held mul=ple management posi=ons in the crea=ve industries throughout Paris. In 2021, Bretez decided to pursue her passion for art and began crea=ng full =me.
Roo=ng her ar=s=c prac=ce in self-awareness Sophie-Yen Bretez is inspired by the freedom found in observing her own experiences and simultaneously transla=ng them into an enigma=c visual language. Striving to present an infinite dialogue between herself, the pain=ngs and the viewer, Bretez confronts themes of the human condi=on and the complexity of the emo=ons while exploring the rich plurality of her iden=ty as an adopted French Asian woman.
Building upon her signature style of dream-like surrealist figura=on, Bretez’s works explore issues such as trauma, resilience, iden=ty, in=macy, sexuality and empowerment. Focusing on discovering ways in which to mirror the human condi=on in a state of recovery, Bretez oDen includes an illuminated horizon line sta=ng, “I paint horizons for those who have suffered.” By portraying her characters in semi-open spaces with a sunset or sunrise in the background, Bretez blurs the boundaries of the confined ‘safe’ space one builds for themselves in moments of weakness.
Interested in challenging the tradi=onal male gaze Bretez u=lises reverse voyeurism to challenge our societal rela=onship with the naked female body. Unfaltering and strong, the women in Bretez’s pain=ngs look directly out at the spectator, serving to simultaneously create distance and prove they are not at the viewer's disposal rather they assert control of their own bodies.
A natural storyteller Bretez begins each pain=ng with a poem linked to memory. Titling her works aDer these spontaneous and ins=nctual poems Bretez incorporates an addi=onal layer of dialogue between the work, the viewer, and herself.Tes=fying to the in=mate and the universal through substan=ve narra=ves, Bretez seeks to perpetuate a wider reflec=on of poli=cal, societal, and existen=al themes. Messages of hope and perseverance permeate.

Daniel Lergon (b.1978, Bonn) is a German artist who experiments with Jight effects and chemical reactions, exploring optics and perception. He began his inquiries into color, the interaction of Jight on different surfaces and optical effects. Lergon has been working with fabrics of different optical and physical qualities, to which he applies lacquers and transparent varnishes to produce a broad range of effects that vary with the position of the viewer. In his early works, Lergon used color pigments within the range of the color spectrum, applying them to all kinds of material surfaces. In later work, while using transparent varnishes and synthetic, retro reflective fabric as painting surface {which reflects the light in the same direction from which it comes), he also includes colors at the very extremes of the spectrum into his work. His intensive study of the colors was thus always tied to the materiality of the painting's ground and the question regarding this influence this would have on the viewer's perception.

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.

The artist Lee Hee-myoung has been exploring a multifaceted perspective on the inner self using painting and installation works, with a focus on femininity and nature since her plant installation piece in 2006. She graduated from the Department of Painting and the Graduate School of Painting at Hongik University. She has held a total of 11 solo exhibitions, including one at the Zaha Museum of Art in 2019. Additionally, she has participated in around 50 group exhibitions, such as those at the Seoul Museum of Art (2007), Sungkok Museum of Art (2008), Soma Museum of Art (2018), and Zaha Museum of Art (2023). She endeavors to establish an internal connection seeking harmony between nature and the female body through diverse expressive techniques. Departing from a vertical mindset that seeks to dominate nature as a primitive world, Lee Hee-myoung advocates for a horizontal world that aligns femininity and nature. Through contemplation of nature and inner self, she creates reassembled works based on the combination of plants and the body, addressing the corporeality of nature and femininity. She also implements fairy-tale-like imagination and mythical symbolism across various spectrums, the positivity of aesthetic embrace and the unsettling shadow of the unknown are captured in her work.

Shin Junmin (b. 1985) majored in painting at the College of Fine Arts and the graduate school of Yeungnam University. As a "walker" in everyday life, he has developed a deep interest in the various forms of light, both natural and artificial. His work focuses on visualizing intangible elements such as the day's wind, air, temperature, and sound, all of which contribute to his exploration of light in his paintings.

He has held a total of 10 solo exhibitions to date, including White Out (2024, Pipe Gallery), White Shadow (2024, Artspace Purl), and New Light (2022, Boan Yeogwan 1942). His notable awards include being named Young Artist of the Year (2015, Daegu Culture and Arts Center), Suseong Emerging Artist (2017, Suseong Artpia), Young Artist Support Program (2018-2019, Daegu Foundation for Culture), Ha Jung-woong Young Artist (2019, Gwangju Museum of Art), and First Career Support for Young Artists (2022, Korea Arts Council).

Jung Kwang Ho, who aims to weave between painting and sculpture, desires to explore the essence and interpretation of sculpture in particular. A sculpture is a tangible representation of an image manifested by the sculptor using materials, techniques, and tools to create a specific object in a particular way. Jung oxymoronically refers to his works as "non-sculptural sculptures," as he works with non-sculptural properties to create essentially sculptural works. The paradoxical expression is part of how he explores the essence of sculpture. The artist made no distinction between inside and outside, instead exposing the surface and penetrating through to suggest that surfaces are merely the superficial layer of sculptural essence and the surface of reality.
Jung presented solo exhibitions in various museums worldwide, including the Stedelijk Museum in Amsterdam, Art Sonje Museum in Gyeongju, Kumho Art Museum in Seoul, Gallery Thomas in Munich, Lumen Gallery in Paris, and Canvas International Art Gallery in Amsterdam. He also participated in significant group exhibitions at institutions such as the Seoul Museum of Art, Samsung Museum of Art Leeum, Singapore Art Museum, and Gyeonggi Museum of Art. His works are held in various collections, including the National Museum of Modern and Contemporary Art, Daejeon Museum of Art, Hanlim Museum of Art, Sonje Museum of Contemporary Art, and Ho-Am Art Museum.


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.

Choi Soo Jung attempts to experiment the conditions of traditional painting and seek pictorial ways to break limits beyond the canvas. She has been working to explore the memory and narrative that could be seen beyond the surface through the painting, which is a physical image on the surface, and between painting and space, and the image that activates in narratives.

Danielle Lin (b. 2001) graduated with a Diploma in Fine Arts from the Malaysian Institute of Arts (M.I.A) in 2021 and quickly made a mark on the Malaysian art scene. That same year, she won the grand prize in Bakat Mahasiswa, a notable competition hosted by M.I.A and the National Art Gallery, establishing her as a rising talent. Known for her unique, allegorical style, Danielle’s work employs indirect, cynical, yet humorous puns to reflect life’s contradictions, often using cute characters to create a visual irony that resonates with audiences. Her exhibitions and curatorial work have further strengthened her influence, marking her as a voice of her generation.

In her recent solo exhibition, The Age of (Un)Innocence, Danielle explores the complex transition from childhood to adulthood, capturing the bewildering shift where once-stable truths become uncertain. The series examines young adults' awakening to a world where even respected figures face setbacks and opportunities often come through connections rather than merit. Through these works, Danielle encourages viewers to question societal norms and the reliability of surrounding structures, presenting a reality as whimsical yet unsettling as a child’s dream. Her insightful blend of humor, introspection, and social commentary has solidified her presence in contemporary Malaysian art, appealing to audiences through a fresh perspective on modern life.

While painting, LIM Nosik’s (b. 1989) body is embedded in everyday scenes. However, the psychological distance from which he looks at it is either closer or further than ordinary days. The subject of his recent work is a question about how to sense landscapes. It focuses on the individual's response to it as much as on the characteristics of the physical properties of a place. The Workroom (2023) is a series of paintings of the studio desk viewed from different times and directions, almost life-sized. The foggy, blurred screen depicts the appearance of weathered memories over time. It is an attempt to capture the world vibrating in the distance of time and space by visualizing the layer of air placed between the landscape, canvas, and himself.




LIM Nosik was born in Seoul, Korea, in 1989. He received his BFA in Oriental Painting at Hongik University in 2015, and MFA in Fine Arts, School of Visual Arts at Korea National University of Arts in 2017. He has held solo exhibitions at various institutions such as Kumho Museum of Art (Seoul, Korea, 2023), Project Space SARUBIA (Seoul, Korea, 2023), Window Gallery, Incheon Art Platform (Incheon, Korea, 2020), Artspace Boan 2 (Seoul, Korea, 2020) and Hapjungjigu (Seoul, Korea, 2017), as well as group exhibitions held at ARARIOGALLERY SEOUL (Seoul, Korea, 2024), SongEun (Seoul, Korea, 2023), Ilmin Museum of Art (Seoul, Korea, 2023), Art Center White Block (Seoul, Korea, 2022), SFAC Seoul Art Space Geumcheon (Seoul, Korea, 2021), Amado Art Space (Seoul, Korea, 2020), and more. The artist gained attention for being selected in the Kumho Museum of Art and Kumho Young Artist 2022. He was the artist-in-residence at the SeMA Nanji Residency (Seoul, Korea) in 2019, and also was the artist-in-residence at the SFAC Seoul Art Space Geumcheon (Seoul, Korea) in 2021. His works are collected by institutions such as the National Museum of Modern and Contemporary Art’s Art Bank, Gyeonggi Museum of Modern Art, Ilmin Museum of Art, and more.

Latthapon Korkiatarkul creates minimal works of powerful subtlety, using abstraction as grounds for fluid subversion and projection.  The artist’s process completely detaches from the conventional structures of drawing, painting, and sculpture: supporting elements such as walls or pedestals become the focal crux of pieces, as do humble materials like graphite and paper. Similarly, the artist distils and reverses sequences of production, at times painting on the reverse of canvases or soaking paper in oil before turning to colour. He negates compositional hierarchy and grandeur, even including seemingly inconsequential remnants from his methodology: the works reveal stray traces of paintbrush hair, cat fur, pencil shavings and dust, and the artist even imagines the light and wind in his studio as  factors behind his visual language. Embracing the totality of his artistic process, Korkiatarkul constantly negotiates the human conceptions of value within and even beyond art. Through laborious transformation and redefinition, he meticulously questions the social construction of objects. The artist quietly calls for introspection in presenting such signature visual voids. As if existing in a vacuum of thought, Korkiatarkul renounces any complex contextual baggage, summoning his viewers to instil their personal quests for knowledge and liberation onto each of his works.

Jeongwoong Lee(b.1982) who constructs a fantasy narrative with obscure multilayered symbols and conducts realistic painting works, graduated from the School of Arts at Sungkyunkwan University, with a B.F.A. Main exhibitions include Close Encounters (CHAMBER 1965, Seoul), Notwithstanding (Obscura, Seoul), Moscow/Seoul Common Idea (Museum of Moscow, Moscow, 2021), P hung a picture (D/P, Seoul, 2021), Shaack (Obscura Gallery, Seoul, 2021), Laputa, The Fall (Pontone Gallery, London, 2018), Laputa (Shineartists Gallery, London, 2015), Young Korean Painters (Shineartists Gallery, London, 2014), Dream Awakening (Gallery 16th, Seoul, 2012), Two-Windows vol.2 (Gallery Hyundai, Seoul, 2010), Window Gallery (Gallery Hyundai, Seoul, 2009), Reverie (Art Space Hue, Seoul, 2009), among others. Lee has also participated in numerous international art fairs, such as HK Art Fair in Hong Kong, Art Stage Singapore, London Art Fair, The Preview in Seoul, and Daegu Art.

Chris Measor, born in Ottawa, Canada in 1984, graduated from the Musashino Art University in Japan. He has participated in numerous group exhibitions both domestically and internationally, including two solo exhibitions in Thailand and South Korea. Based in Busan, he continues his artistic endeavors and is an artist whose international career is highly anticipated.
Chris Measor expresses various themes in his work, including European mythology, satire, philosophy, history, politics, and film, by anthropomorphizing animal characters. The animal figures in his works, such as cats, dogs, and rabbits, serve as engaging mediums that attract the audience's interest and guide them through the narrative. By using animals as motifs, the artist avoids potential biases that might arise from depicting human characters, where aspects like race, class, and age could distort the essential meaning he intends to convey. He aims for viewers to immerse themselves in the storytelling without preconceived notions. The artist encourages a reflection on the everyday characters that might be overlooked and hopes that each character in his works represents the protagonists of life, inviting the audience to explore their diverse stories. He creates a layered base on wooden panels using gesso and sanding techniques, applying acrylic gouache and acrylic ink to achieve depth and detail in his artwork.

Kohei Nawa is a multidisciplinary artist whose diverse practice explores the perception of virtual and physical space and examines the relationship between nature and artificiality, and between the individual and the whole, illustrating how parts aggregate together, like cells, to create complex and dynamic structures.

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.

From 1973-76 he attended the University Witwatersrand, in Johannesburg, South Africa. He studied at the  Johannesburg Art Foundation, Johannesburg, South Africa, from which he graduated in 1978. In the early ‘80s he moved to Paris to study theater, attending the École Jacques LeCoq, and investigating acting, directing, and filmmaking, with little success. In the late 1980s he went back to art, making drawings and animated films and other films. Between 1989 and 2011, he created 10 Drawings for Projection, a set of 10 animated movies, which caused him to understand that the films were fundamental to his work. Kentridge has also directed several operas. He has been awarded The Carnegie Prize, Pittsburgh in 2000, and is the recipient of several honorary doctorates, including an Honorary Doctorate from the Royal College of Art, London in 2010.

He was Humanitas Visiting Professor in Contemporary Art at Oxford University, Oxford, UK in 2013. He was honored as a Commandeur des Arts et des Lettres.  In 2016, his solo exhibition “Thick Time” opened at Whitechapel Gallery in London. Kentridge has participated in Documenta (2012, 2002, 1997) as well as the Venice Biennale (2015, 2005, 1999 and 1993). His work is in the collections of the Tate, London, the Museum of Contemporary Art, Chicago, the Metropolitan Museum of Art and the Museum of Modern Art in New York and the San Francisco Museum of Modern Art, among many others.

One Big Boot

Memoir No. 17

Memoir No. 4

Memoir No. 5

Memoir No. 7

Memoir No. 6

Memoir No. 8

Memoir No. 9

Memoir No. 10

Memoir No. 11

Memoir No. 12

Memoir No. 13

Memoir No. 14

Memoir No. 15

Memoir No. 16

Memoir No. 18

The Memoir No. 1

Memoir No. 2

Memoir No. 3

ike the river running to the sea, Years and days in their wild race Spill drops of memories of gold and blue, Where sorrow and joy have their place, And suddenly, life begins anew, - And suddenly, it's dawn.

Oh 6me! With clear, wandering flow, Within thy wave the sun whispers low And tell my soul-searching eyes Close to the sea the truth lies. - And in the middle runs a river.

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