SanOh Lee works with materials such as soil, paper, and graphite to poetically reflect on life and death. By recognizing structural similarities in the ways text and image are generated, the artist explores diverse modes of creative language.

Drawing from elements found in books, Lee constructs relationships between text and image, unfolding compositions in a manner akin to writing. Through this process, the work expands into surreal visual landscapes.

The artist is particularly drawn to the image of the bird—as a medium that reveals what is sensed but unseen, such as intuition or premonition, and as a messenger that moves between the realms of the living and the dead.

Pulrim, through the Pulbada series, explores the way nature manifests as individual entities within the urban landscape. In Pulrim’s works, artificially constructed patterns come together to form seemingly natural sceneries, reflecting our fragmented perception of nature in the city. The sense of tranquility found in these constructed landscapes—could it be a learned comfort rather than an innate one?
By juxtaposing concrete images of nature with abstract, manufactured patterns reminiscent of foliage, Pulrim raises questions about the "naturalness" we so readily accept in urban environments. Fragmented memories of landscapes are reassembled on the canvas, forming an entirely new garden that does not exist in reality—yet feels deeply familiar. This process mirrors the continual formation and reconstruction of nature within the city.
Pulrim’s landscapes are not unfamiliar. They echo scenes we have all encountered, yet never quite in this way. Through these works, viewers are invited to reconsider their daily encounters with urban nature and ask themselves: 

"Is this truly nature?"

Anya Paintsil (b. 1993) is a London-based textile artist of Welsh and Ghanaian descent.
Combining traditional hand rug making techniques with Afro hair styling methods, Paintsil’s practice is largely autobiographical. She takes inspiration from her childhood, family stories, and Welsh and Ghanaian mythologies, while exploring identity and gendered labour. Paintsil seeks to promote artistic practices historically devalued due to their associations with femininity and other marginalised groups.

n the paintings of Son Jung-gi (b. 1991), nature unfolds as a space of overwhelming scale. A single small figure within the vast landscape reveals how minute human existence can be, and yet how profoundly one is able to contemplate within such quietude. In his works, the viewer encounters an expansion of the inner self through the stillness that nature affords.

Peter Chey draws "faceless comfort" under a single idea—that comfort should reach anyone, easily. Working with the most familiar of materials, ballpoint pen and marker, he leaves each figure's face empty so that viewers can project their own stories and complete the work through their own reading. Moved by those who told him his small drawings brought them great comfort, he developed his "Giant Drawing" technique, enlarging tiny ballpoint sketches over a hundredfold and redrawing them by hand in the same medium. The result feels like a picture made by a giant standing steadfastly beside you—an image that shifts with distance, offering comfort through both scale and perception.

Wonkyo Choi explores the intersections where opposing or contrasting realms meet, overlap, or collide. Wonkyo’s work focuses on dissolving and reconstructing these boundaries, challenging the fixed notions of separation. Recently, the artist’s practice has turned toward the nature of images produced within digital environments. Also, the artist investigates their depth, expansiveness, weight, and spatial qualities—elements often overlooked in purely data-driven forms. By transforming these immaterial, digitally-generated images into physical and tactile presences, Wonkyo attempts to give form to the intangible, bridging the virtual and the real. the artist’s work not only questions the ontology of contemporary digital imagery but also proposes new ways of sensing and experiencing the image beyond the screen.


Midori Arai, born in Ibaraki, Japan in 1992, graduated from Tokyo Zokei University in 2015 with a bachelor's degree in fine arts. She completed a master's degree in oil painting at Kyoto University of The Arts in 2022. 
Midori Arai's painting embodies the concept of capturing unconscious movements and reinterpreting them, illustrating the juxtaposition between the body’s finiteness and the painting’s infinity. The strokes serve as both an action and a trace, echoing the ideas presented in Roland Barthes’s essay on Cy Twombly, emphasizing the raw guidance of the hand and its desires over the precise control of the eye. This artwork transcends traditional visual perception, favoring the memory and automatic functions of the body—breathing, blinking, and heartbeat—over conscious intention. It invites the viewer to engage with the physicality of the artistic process and confront the traces of time, reflecting on the inherent limitations and continuous existence of the human form.


In her paintings, Prae Pupityastaporn produces layered continuums of observation and memory. She draws from the overlooked minutiae of daily life, building an illusive catalogue of her material surroundings. Deftly extracting from the latent and the mundane, Pupityastaporn transforms seemingly dull objects into active deposits of evolution: a showerhead, a wall or a rock acquires mercurial ability in her works, storing shifts of the emotional and the environmental. Intertwining streams of the subconscious, Pupityasporn offers dreamlike insight into the flux and fragility of memory, both personal and shared. Most influenced by her physical environments, Pupityastaporn synthesises her experiences in Germany and Thailand. During her studies in Germany, she was exposed to reinventions of the landscape genre in the region’s early contemporary art scene; the artist has since followed her predecessors in creating a pioneering visual vocabulary, establishing a distinct approach of distanced liminality. Her paintings demonstrate the shifting possibilities of shared emotional fabrics, proving how each of our complex internal states can color perceptions of the external world. She awakens a unique set of memories and feelings in each viewer, and quietly transforms those associations once again in her practice of retrieval and repatterning.

Chanida Voraphitak is a distinguished illustrator deeply rooted in the realm of graphic design. Having honed her skills as an art director within the fashion magazine industry and mastering the art of animation, she has discovered an ardent devotion to crafting intricate illustrations imbued with an animalistic allure. Her creative process is marked by meticulous research and recollection, resulting in an inimitable amalgamation of line patterns. With an unwavering embrace of limitless imagination and unrestricted material choices, Voraphitak’s manifests captivating works across an array of mediums, spanning drawing, illustration, product and textile design, as well as installations.

Mahdi Abdullah is one of Indonesia’s most significant painters. He graduated from Faculty of Architecture in Banda Aceh (1988) before earning his master degree at Indonesian Art Institute Yogyakarta in 2012. His works use realism to depict his anxieties about the social reality that he has witnessed while focusing on the life of common people from his hometown. At first, the images might look calm and peaceful but there’s dualism existing in each work.
“It is an introspection, an inventory of his thoughts and feelings that he found inside. Sometimes they’re dreamy, poetic, sometimes mirroring fears and terror, leaving the plane of realism and opening almost surrealist dimensions,”-quoted from art writer Anton Larenz about Mahdi’s realist approach.
He has several exhibitions locally and internationally, with his works present in various collections from museums, galleries and private collectors abroad.


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.

SeoHyun Kim layers, cuts, and reassembles heterogeneous materials—oil paint, wax, resin, and fabric—allowing traces of different times to coexist within a single pictorial surface. Across this surface, undefined beings repeatedly emerge and dissolve, as fragments of memory and record carry on a loose, ongoing conversation.

Zelalem Merga, a visionary artist hailing from Addis Ababa, Ethiopia, is known for his profound connection to emotions and the natural world. Born in 1989, he earned his BFA from Addis Ababa University Alle School of Fine Arts and Design (Graphics Department) in 2013, and currently resides in the vibrant Ethiopian capital.
Driven by passion and an unwavering commitment to innovation, Zelalem transforms discarded materials into mesmerizing works of art. His creative process is fueled by an innate desire to elevate the ordinary, encouraging viewers to reconsider the value of everyday objects and contemplate their own consumption habits.
In Zelalem's artwork, there is an underlying sense of disquiet, reflecting the complexities of the modern world in which we live. Through his masterful use of recycled materials, he constructs captivating portraits that challenge the status quo and leave a lasting impression on the art world. Each piece is a testament to the transformative power of art and the potential for renewal within ourselves and the world around us.
Zelalem Merga's work is not only an ode to the beauty and splendor of nature but also a celebration of human creativity and resilience. As an artist who truly embodies the essence of Artue's brand, we are honored to showcase his remarkable talent and share his unique perspective with our community of art enthusiasts.

Jack Kabangu (b.1996, Zambian) is a Copenhagen-based self-taught contemporary artist whose practice fuses the rhythms of urban culture with the layered identity of the African diaspora. His paintings are charged with bold color contrasts, tactile textures, and recurring mask-like faces that recall both tribal iconography and contemporary street culture. Drawing inspiration from graffiti, hip-hop, and personal memory, Kabangu stages the dualities of joy and pain, beauty and ugliness, light and darkness in a raw yet poetic manner. Using brushes, fingers, and scrapers, he leaves visceral traces that infuse his canvases with immediacy, evoking echoes of Jean-Michel Basquiat while forging a distinct visual language of his own. Rapidly gaining international recognition through exhibitions across Europe, Asia, and the U.S., Kabangu is emerging as one of the most compelling voices reimagining identity and expression in today’s global art scene.

Eun Lee is a visual artist who captures the quiet wonder found in everyday landscapes. Inspired by ordinary moments such as grass moving in the wind or subtle shifts in natural light, her paintings begin with familiar scenes and gradually guide the viewer into spaces where the boundaries of reality begin to soften. Her work exists in a place where what is real and what is imagined gently overlap, inviting moments of reflection and emotional depth.
Rather than aiming to reproduce nature exactly as it appears, Lee focuses on its quiet contradictions. She often combines elements that do not typically appear together, such as vegetation from different climates or light that could belong to either sunrise or sunset. These thoughtful combinations create a gentle sense of disorientation, encouraging the viewer to step into a space that feels both real and dreamlike.
Lee’s paintings are deeply personal and shaped by her own memories and experiences. She describes them as variations of time and stories she has lived. Although the work is rooted in her own life, it speaks in a language that others can understand and relate to. Her landscapes become open spaces where viewers may recognize something of their own inner world.
A central idea in her practice is the creation of a safe and protective space within the painted scene. Each work offers a moment of pause, away from the urgency and unpredictability of daily life. These are spaces of protection, offering both the artist and the viewer a chance to rest, observe, and feel at ease. In this way, her paintings become more than visual expressions. They become emotional environments that invite peace and contemplation.
Eun Lee is a visual artist who captures the quiet wonder found in everyday landscapes. Inspired by ordinary moments such as grass moving in the wind or subtle shifts in natural light, her paintings begin with familiar scenes and gradually guide the viewer into spaces where the boundaries of reality begin to soften. Her work exists in a place where what is real and what is imagined gently overlap, inviting moments of reflection and emotional depth.
Rather than aiming to reproduce nature exactly as it appears, Lee focuses on its quiet contradictions. She often combines elements that do not typically appear together, such as vegetation from different climates or light that could belong to either sunrise or sunset. These thoughtful combinations create a gentle sense of disorientation, encouraging the viewer to step into a space that feels both real and dreamlike.
Lee’s paintings are deeply personal and shaped by her own memories and experiences. She describes them as variations of time and stories she has lived. Although the work is rooted in her own life, it speaks in a language that others can understand and relate to. Her landscapes become open spaces where viewers may recognize something of their own inner world.
A central idea in her practice is the creation of a safe and protective space withi

Yujiro Ueno is an up-and-coming artist creating paintings with motifs of dragons, tigers, birds, and other creatures based on the idea of "chi" in Eastern thought. Based on the theory of Yin-Yang and the Five Elements of the Universe, which views all things in the universe as two opposing elements

Marionne Contreras (b. 1992) is a visual artist based in Manila, Philippines, with a current emphasis on fiber and fabric based works. Her works are diaristic, often with themes of memory, its persistence, its purity, and its vulnerability to tampering, with constant undertones of womanhood, consistently taking the role of the female as narrator; taking visual inspiration from textures and forms found in nature while maintaining an aesthetic that leans towards the synthetic.

Highly aware of the universality of the personal, her works often carry intimate personal narratives despite her conscious decision to highlight their ornamental nature – to always stage them as a tableau of beauty given the parameters in which the very idea of “the beautiful” is meant to work.

She has been actively exhibiting in The Philippines. Her most recent one-person exhibition, Poetry has left me, has concluded last 10th of November, 2023 in Vinyl On Vinyl Gallery, Makati City, Philippines.

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.

Candy Koh is an artist, writer, translator, and (sometimes) attorney based in New York City. Much of her artistic practice stems from her interest in the historically spiritual and community-binding role of the artist across various human civilizations. A signature element of her works, date/time/weather stamps situate all of her works in a specific time and space, and allude to pervasive themes in her work: finiteness of the physical world, boundlessness of the unknown, and contemporary neuroses. She works in a variety of mediums such as painting / drawing, sculpture, installation, performance, and photo / video. She has shown her works at solo and group exhibitions in both New York City and Seoul, Korea. Her writings have appeared in art publications, such as ArtAsiaPacific, art critical, and Seaweed Journal. For her M.F.A. thesis before the K-Pop boom, she wrote “Investigating the Gangnam Style Phenomenon: Global Eurocentrism, Asian Masculinity, and Psy,” which examined the representation of Asians in American visual culture, and signifiers that transcend cultural and linguistic borders. She holds an M.F.A. in Art Criticism and Writing from the School of Visual Arts, New York City, and a B.A. in Sculpture and Literature from New School University. She is also a graduate of the J.D. program at Fordham University School of Law.

Im Jaehyoung collects images of personal and social loss and explores them in various ways, linking the concept of 'disappearance' with the act of painting. Through his paintings, he creates a unique visual distance, addressing the psychological and ethical distances associated with absence.

JHU’s works confront the fragility and mutability of form, employing organic and fluid mediums to create abstract narratives that resonate with existential vulnerability. Through his pieces, he reflects on the impermanence of the human condition, inviting viewers to consider the moments when identity feels unfamiliar and fragmented.

Jeroz illustrates the romance that dwells within the urban coldness. In a story-like circumstance, the character's sunglasses conceal their eyes and their moustaches cover their mouths, allowing the audience to infer and assume the facial emotions of people with unknown faces as situations in work. The strong saturation and contrast of the dark night reflect the location's temperature, and each moving animation piece contributes to the work's amusement. The introduction of the work is written as an excerpt from a novel, offering the audience the opportunity to explore the content before and after it. The artist hopes that the universe shown in the painting is a world that is both cool and romantic, and in which the viewer lives fiercely. 

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.

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.

Eyes of Three Birds

Aile1

Aile2

Aile3

꽃샘 바람 (The jealous wind of spring blossoms)

Chattering Greens (L)

Chattering Greens (R)

고운 햇살 너머 (Beyond the gentle sunlight)

아늑한 산들빛 (A Gentle Breeze of Light)

Tonight We Dine on Lambs and Baby Chickens (I)

Tonight We Dine on Lambs and Baby Chickens (II)

Your Worst Sin Is That You’ve Destroyed and Betrayed Yourself for Nothing

Winter Forest

To the Distant Wood

Walking Alone

Beyond Uncertainty

The Way of Silence

Toward Silence

A Forest that Asks Nothing

A Journey Into Uncertainty

Through the Forest

Paths

#rockscissorspaper

#companion

#myself

#home

#overlap

#hurt

#discovery_of_happiness

#if_together

#have

#dday

The creation

Pink tree

Door #02

My Sweet Home #02

Handmade #01

Handmade #02

Slowly crashing waves (9ea)

Seaview 02

Walk in the Park

Waiting outside

Dejavu

Sea 01

Empty Word

Positive Energy

Up and Above

State of Contentment

Wishful Thinking

Nachmittag

I see the Island

Terrarium

Gazirah dan Laku Waktu

Persiapan Gerilya (After S. Soedjojono)

Rabbit Potter

Cat Scholar M2

__test__

Over the Sugar Bridge

We met on the Pale atmosphere

I See You, Icy You

Tiny Snow Ball

Nude at the easel

The Artist...

Garden Kiss

Afro Nude

Still Life 

The carpet

Swimming colors I

Swimming colors Il

Conversation

Model in the studio

Love Bath

Sunset in the studio

Waiting the sunset

sunset

Sleeping the beach

Futurs

Wenchi

Figure at sunset

Monstra I

Sleeping nude at the beach

Period

Samo

I know Love

Mother and child

Bleu studio aa

Bleu

Deep blue

Garden Love

Flower girls

Dark face painting (Blue tears black boy)

Dark face painting (Snow, Water, Sun)

Dark face painting (Summer snow)

Dark face painting (Untitled water boy)

Dark face painting

Dark face painting (Mudder og vand / Mud and water)

Dark face painting (Summer snow 2)

Dark face painting (Rødt jord blå dreng/ Red dirt blue boy)

I will meet you there

Youth

KulikalaDragon No .3

Flow— Carp— No .8

Portrait of an Artist as a Mother as a Universe as an Egg (After Hildegard von Bingen’s The Universe in the Shape of an Egg)

Door of Night

Crevice

What only the light can do

Take root

Knock

The Never-ending Night

Untitled (20230712-2)

Untitled (20230712-1)

Solid Water

With Eyes Closed

Heavy Snow

Island

Driver

Yellow eyed cat

So many holes

Midnight Cafeteria

The man with the surfboard picture

Trans Deer

Orbit - CF(Haze)

Orbit - CFS(Reed)

Orbit - AEFS(StranglerFig)

Orbit - E(Irrigation)

Picasso with pushpin # 10

Untitled

Picasso with pushpin # 11

Picasso with pushpin # 12

Picasso with pushpin # 16