Alex Cho observes the subtle moments of mistranslations in his works. For him, these mistranslations are akin to off-pitch harmony or miscommunication that somehow makes sense. Information seems to overpower reality, appearing as translated or compressed surfaces. Amidst the current state of information overload, the artist seeks out gaps and errors that feel awkward. Using floaty drawing elements and a loose, painterly expression, the artist aims to react to and reassemble encountered information and events, creating new possibilities. The artist hopes to capture moments of awkwardness in these ambiguous spaces. His works resemble anti-humor jokes or awkward silences. The desire to go beyond information and drifting thoughts emerges on the surface of canvases as mistranslations, even if only superficially.

Park Kyung Ryul(b.1979) is based in Seoul, South Korea. Park received a B.F.A and a M.F.A in Fine Arts from Hongik University, and an M.F.A from Chelsea College of Arts. Park has held solo exhibitions at Baik Art Seoul (2024, Seoul), One and J. Gallery (2021, Seoul), DOOSAN Gallery New York(2020, New York), DOOSAN Gallery (2020, Seoul), Baik Art Seoul (2019, Seoul), and Lungley Gallery (2018, London). Park has also participated in group exhibitions at Buk-Seoul Museum of Art(2023, Seoul), Open Studio(2022, California), Perigee Gallery(2021, Seoul), Gyeonggi Museum of Modern Art (2020, Ansan), Ilmin Museum of Art (2019, Seoul), Mine Project (2019, Hong Kong), Beijing Commune (2019, Beijing), SongEun Art Space (2018, Seoul). Park was awarded the SongEun Art Excellence Award in 2018, and also participated in 18th Street Art center Residency, DOOSAN Residency New York, SeMA Nanji Residency and MMCA Residency Goyang.

Nuttiwut (1993) presents his artwork through the chaotic journey of his own life because these experiences are relatable to may people who may have never realized it. Also, he expresses his work to make fun of himself and the surrounding society, The artist has been creating works and exhibiting constantly. For example, “The Twelve Labours of Hercules” in 2018, “The Art of Survival” in 2019 and additionally he had joined group exhibitions such as “HUMAN-19” in 2020 and “The spirit of Six” in 2019 at Number1Gallery, Hotel Art Fair in 2024. Besides he had participated an international exhibition for instance “Art Expo Malaysia 2019” and Art Fair Philippines in 2020 , Art Busan 2024.


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.

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).

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.

A key member of first Dada and then Surrealism in Europe in the 1910s and 1920s, Max Ernst used a variety of mediums—painting, collage, printmaking, sculpture, and various unconventional drawing methods—to give visual form to both personal memory and collective myth. By combining illusionistic technique with a cut-and-paste logic, he made the incredible believable, expressing disjunctions of the mind and shocks of societal upheavals with unsettling clarity.

He explores the ways in which events and objects with fragile qualities are transformed into paintings that project his view of the world. The paintings, created by transferring the shapes of intuitive and impulsive trajectories to the canvas, coloring them, and superimposing sketch lines that go back in time, reflect the site of the artist’s body’s vital encounter with and understanding of the world. The shapes formed by the jagged, impulsive trajectories are glazed and clumsy, but there is a recollected sincerity behind their appearance.

The artist creates drawings on the fly, collecting and reinterpreting ideas from objects. He has seen closely or encountered by chance. He perceives the paper or canvas, the support for recording the trajectory, only in his peripheral vision and draws according to the impulsive rhythm of his hand, or he chooses visual isolation, not looking at the support at all. Relying on guesswork and sensation to capture shapes, the recorded objects become the sketches for the paintings, with their fuzzy shapes. Freed from the desire to reproduce the surface of the object, this act aims to truthfully record the indeterminacy and ambiguity of the body’s impulsiveness. The lines thus drawn help me to focus on the abstract fragments of the events encountered and the elements of the painting.

The brushstrokes that apply oil pigment to the drawing’s shapes move and lay out the color plane based on the direction of the drawing strokes, such as where they are applied with pressure and the rhythm of the line. In this process, the drawing outline inevitably becomes embedded in the pigment of the oil painting, which is then scratched out again with a pencil or re-emphasized with a darker brush, preserving the past trajectory as a final image. The forms maintained by the dense outlines create the appearance of a solid exoskeleton that blocks intervention from the outside, but the gaps between lines and lines become a fragile exoskeleton that allows for contact with the outside. In Jang’s paintings, the viewer’s gaze is actively invited to penetrate through the gaps in the outline, just as bacteria penetrates through the gaps in an exoskeleton, creating a field of interaction with the artist’s paintings. This phenomenon is not only the artist’s way of being in a world with complex causal relationships, but also the embodiment of the artist’s attitude toward such a world.

Hanna Kim is interested in phenomena that are difficult to perceive superficially as we live our lives. She explores the distinctive features of painting in order to visualize the hidden, complex dimensions within intricate connections. The process of carving, cutting, and deconstructing the wood panel is an act of searching for what lies beyond the surface. The leftovers that emerge during this deconstruction are then reassembled to generate forms in the painting that go beyond mere representation.
The front and back of the deconstructed painting are placed in space, disrupting the previously uniform appearance of the space and revealing the unseen aspects of the area. This act of deconstruction and reconstruction serves as a way to discover new perspectives in the unexplored areas of the space. 

Jaehyuck Han creates new forms of painting by transforming traditional Eastern materials like Hanji and Hwasunji into his unique visual language. His work deconstructs and reconfigures familiar elements, generating unfamiliar images that provoke deep reflection. Through this process of transformation, Han invites dialogue with the inner self, opening pathways to new possibilities and creative potential.

Hwasu Yoo, born in 1989 in Busan, graduated from the College of Arts at Dankook University and the Graduate School of Painting at Kookmin University. She has participated in five solo exhibitions and numerous group shows, expanding her international presence through major art fairs in Singapore, Hong Kong, and China.
Hwasu Yoo conceived her "Unrealistic Space" series from the anxiety and desire for stability stemming from repetitive daily life, habitual actions, and irrational situations. She transforms feelings and images based on experiences or the real world into collages on square or circular canvases, incorporating oil paint and fabric objects to create an unrealistic "virtual world." The artworks prominently feature flowers, horses, and children, with the children symbolizing freedom as they collect words from floating horses that travel for play. The horses disguise themselves within their surroundings, avoiding capture. Through the acts of "drawing" and adding "fabric objects," the artist creates imaginative spaces where exhausted figures, masked as boys and girls, seek playfulness, reflecting her unique narrative towards a utopia.

Instead of waiting for a moment of inspiration, Nature Haan has continued to work, focusing on the landscape and emotions surrounding him. Since majoring in Western Painting at Seoul National University, he has shown a variety of artworks that capture the artist's daily life in their respective fields in different ways. Beginning in 2016, “Receipt Work” is based on receipts, a common material of daily life, and the objective text is gradually erased, leaving just the image of the moment, which is presented to the audience as a daily record. The artist aspires to become an unostentatious artist in the future, who communicates with the audience through works that show his own self.

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.


Sasha Yazov (b. 2000, Kaliningrad) is the young artist whose primary interest is in the gaming world. His point of reference is popular video games from the early 2000s. He uses gamepJay as an opportunity to make a screenshot of a uniquely created situation inside the game, and this becomes a painting. Using airbrush and stencils in the process, Yazov achieves a maximum likeness to the digital aesthetics, taking us back to a period of time when computer game culture was at its prime, and the internet still seemed a platform of freedom and unprecedented opportunity for everyone. 

Sunday B. Morning is an artistic enigma: a replicator of the 20th century’s most famous replicator. Once an authorized distributor of Andy Warhol prints, the company had its legality questioned after the artist had a change of heart, and its legitimacy as a producer of authentic prints has grown murky. The project began as a collaboration between Warhol and two anonymous friends in Belgium whom the artist contracted to make new editions of some of his most famous artworks—including his famed “Marilyn,” “Flowers,” and “Campbell’s Soup Cans” series—using negatives he gave them himself. Sunday B. Morning continued to make editions of Warhol’s iconic works after the split, in some ways continuing Warhol’s inquiries into image, iconography, reproduction, and ownership. Sunday B. Morning is now a well-known purveyor of prints including the aforementioned works as well as “Mao” and “Dollar” series.

Leng Guangmin was born in Qingzhou, Shandong, in 1986. During studies in the department of oil paintings at Tianjin Academy of Fine Arts, Leng spontaneously explored his path to break the traditional paradigm of oil painting creation and became one of the most significant painting artists of the 80s generation. In contrast to accumulated paints and strokes, he chose to open a  brand-new physical space in the image with the movement of slicing. Slicing is not only his creative method but also his attitude toward art, which is keen, determined, and resolute. With relatively consistent painting skills, the artist keeps dissecting materials and images guided by some clues but has no clear themes. The ubiquitous tension formed by confrontations, the opposing but complementary colors, the level and scraped materials, the hard-edged and gradient textures, and the conformal and negative structures are the incomparable attractions of his paintings. They enable the artist to refine the inner order behind the numerous and complicated objects, which can be manifested with images only in a highly abstract and endlessly changing state. His critical solo exhibitions include: "Shell, like the wings of a cicada", MAHO KUBOTA GALLERY, Tokyo, Japan, 2023; Personal Project at West Bund Art & Design Fair, Shanghai, China, 2019; "Ripples", MAHO KUBOTA GALLERY, Tokyo, Japan, 2018;Leng Guangmin: Perfect Destruction, Hive Center for Contemporary Art, Beijing, China, 2017; Leng Guangmin: Hive Center for Contemporary Art, Beijing, China, 2014; Hive · Becoming II, See the Appearance: The Solo Exhibition of Leng Guangmin, Hive Center for Contemporary Art, Beijing, China, 2013 and so on.

Through meticulously balanced images that encourage prolonged attention, Sugimoto’s work focuses audience consideration on the ways in which humanity makes sense of itself. Sugimoto moved to Los Angeles in 1971, receiving his BFA from the Art Center College of Design in 1972. In 1974, he moved to New York, and became involved in the Minimal and Conceptual art scenes of the late 1970s. His best-known series, including Dioramas, Theaters, Seascapes, Portraits, Architecture, Conceptual Forms, and Lightning Fields draw heavily upon repetition, unifying disparate locations through shared compositions, and are characterized by use of long exposures, black and white film, and analog processes. In recent years, Sugimoto has begun to design architectural spaces that, like his photographs, use simplicity of form to focus attention on the mechanisms through which we understand the world.  

Sugimoto has had solo exhibitions at the National Museum of Contemporary Art in Osaka (1989), the Museum of Contemporary Art in Los Angeles (1994), San Francisco Museum of Modern Art (2000), the Guggenheim Museum Bilbao and the Neue Nationalgalerie in Berlin (2008), among many other venues. He has received many honors, including the Praemium Imperiale Award for Painting, Tokyo in 2009 and Officier de L’ordre des Arts et des Lettres, in Paris in 2013. In 2017, he was honored as a Person of Cultural Merit in Tokyo. His photographs are in the collections of the Metropolitan Museum of Art, New York; Museum of Modern Art, New York; National Gallery of Art, Washington, DC; San Francisco Museum of Modern Art; Tate Gallery, London; and many others.

For Moonhee Cho, the series of photographic works are both a process and a result of pusing ‘resemble’. ‘Resemble’ creates a gap skimmed from reality, making one revisit the place glimpsed at first sight. The landscape that was once passed by reveals a dramatic presence in a form that was never reached, even in places that were numb, different from the afterimage left in the mind. Following the image in the landscape, she visualizes the conflict stemming from ‘resemblance’.

An artist who uses the domestic realm in her work as a starting point for discussing broader matters such as the domestication of women’s politics, authoritarianism and fascism, patriarchy and capitalism, which are still there and have been her concern. 

Dian Suci often displays her work with an awareness of space, depicts body experiences, and plays the composition of objects as metaphors of what she really wants to convey. Dian uses a variety of media for her works, including installations, paintings and videos. 


Born in 1981 Gifu, and raised in Aichi, Japan. At the age of twenty, he moved to California, U.S.A. to pursue an art career. He spent four years in the Bay area doing live painting, mural and participating in both solo exhibitions and art events. While living in San Francisco, he discovered a small group of avid bicyclists and became a bike messenger. It was through his experience as a courier that he found his essence of life and the conceptual basis for his art. In 2006, he returned to Japan. Initially he lived in Tokyo, where he continued to work as a messenger and became involved in the bicycle industry. He is involved in art curating, company/collaborative projects, and continues to exhibit his artwork world-widely. He currently resides in the countryside, Atsumi Peninsula, where he can ride a bike, surf, fishing and farming.

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