The fusion of metal and painting dismantles the boundaries of traditional pictorial practice, pursuing the expansion of medium as a means to probe the ontological truth embedded within the depths of human thought.
Metal, the central substance of my work, embodies the backbone of civilization—an element forged upon the relentless struggles of humanity’s aspiration toward the ideal. It contains a primordial energy latent within matter itself.
The rough surface rendered through grinding reveals both light and wound, inscribing the traces of a life that has defied its destined course. It stands as an act of resistance against the erosion of time, a testimony of reverence toward the fragile lives that have withered within the continuum of conflict and regeneration.
Through the repetitive gestures of cutting the metal plate and layering pigments, destruction and reconstruction, disintegration and awakening are enacted in cycles —symbolizing the pilgrim’s ascent toward self-awareness. Within this process, the surface transforms into a site of experiment where physical labor and spiritual inquiry converge.
My practice, situated upon a medium that records both time and humanity, becomes an act of embodying existence itself—an existential pilgrimage seeking the immortal ideal that lies beyond form. 

Exploring the intersection of reality and fantasy, Jung Woo Jae's emotionally charged artworks delve into the desires and struggles of modern individuals. His recurring motif of the adolescent girl symbolizes the poignant journey of self-discovery and the pursuit of self-esteem in the throes of adulthood. Often depicted as pets, animals emerge as beacons of healing and comfort, offering solace in the face of modern anxieties and the isolating tendencies of individualistic societies. By grounding his fantastical elements within meticulously rendered landscapes and luminous light effects, Jung Woo Jae masterfully blurs the lines between reality and imagination, inviting the viewer to participate in a relatable emotional journey. Through his hyperrealistic techniques, he imbues his art with a potent message of "healing and recovery," offering a comforting presence and a sense of hope to those navigating the uncertainties of modern life.

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.

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.

Sung Tae Kim specializes in the process of transforming a flat surface into a three-dimensional object. The works are a plane with three-dimensional potential and a processed surface, depicting space through installation. Interestingly, behind this complex process, we find the artist replacing the segmental method of measurement with psychology.

Sujin Lee captures the quiet, psychological unease embedded in the everyday. Borrowing emotionally neutral imagery—film stills, mundane objects, and diagrammatic forms—she turns them into compositional experiments that probe the instability of feeling. By revealing only fragments of the human figure or treating still life as a kind of portrait, Lee transforms personal experience into a shared sensibility. Her paintings balance tension and stillness, strangeness and calm. In her work, anxiety becomes not a singular emotion but a medium for painterly exploration, reframing how emotion itself can be seen and understood.

Artist GBDAY’s interest in art grew when he first encountered skateboarding culture and fashion during his adolescence. The artist later began to work on graphics and paintings during his studies in graphic design at university. His artistic stage name, "GBDAY," stands for "Good Day & Bad Day," which contains the artist's desire to illustrate different experiences and emotions of his daily life.

His stage name and its meaning profoundly influenced the world of his work and its creation. 

The artist gains inspiration from human relationships, emotions, and social phenomena he captures daily. His work mainly deals with themes around love, separation, emptiness, and death. The artist links these themes with the skeleton motif, influenced by tattoos, skateboarding culture, and
hip-hop and band music he listened to. The Skeleton motif symbolizes an equal and pure being that everyone, regardless of gender or race, can sympathize with and illustrates the world beyond reality and death. Moreover, Cherry denotes the uncertainty of life, desire, and fruition, and Butterfly portrays life after a newborn death. 

GBDAY uses drawing as a subject that best reveals himself. His works mainly focus on graffiti and pen drawings, although he continuously experiments with various styles and media to develop a unique work. He currently uses graphite and acrylic paints for most of his works, aiming to expand his ways of expression. Furthermore, the artist frequently presents parody-based works where he adds a twist to an existing painting or work that may be familiar to the audience. The artist claims he enjoys creating parody-based works because he wishes his audience to approach art more easily and have some fun interacting with his work. 

"Life Goes On" is a message that signifies not only GBDAY's art but also his life philosophy.

The artist intends to deliver joy and happiness to the audience through his work, conveying the bliss of our life journey. GBDAY is interested in exploring new styles and materials to convey a wider range of emotions in his art.

Woo Lim Lee who was born in 1972 in Kyoungnam Province in South Korea is a Korean Asian Modern & Contemporary painter. He received both his BFA and MFA from Youngnam University. The figures that appear in the mysterious landscape/portrait paintings of Woo Lim Lee project the artist’s utopian desire for protection and insulation from the consequences of a rapidly expanding and fiercely competitive modern world. People look for beauty in nature, heal their wound through nature, and seek repose and meditation within nature. We dream and have a vision of another world through nature. His work is an evocation of the spirituality of modern people derived from their secret, mystic contact with nature. His work is steeped in a longing for mystic power and incantational imagery.

Jaeyeon Leem explores a strange sense of novelty from unfamiliar sensations. The artist earned her undergraduate degree in painting from Ewha Womans University and is currently pursuing her master’s in the same institution. In her painting, peculiar emotions entangle with the world and result in its own fantasies. As our familiar world feels inadequate and incomplete, this uncharted mystic realm exerts a greater force upon us. The mythic motifs that appear in her work serve to amplify these sensations of strangeness, mystery, and fear that we have not encountered previously in our world. The unseen and unexperienced world feels like the underbelly of the real world, yet it is a space that makes us conscious of the depths within the human mind. 
Her art seeks to reconcile the coexistence of dualities such as reality and unreality, desire and repression, good and evil, beauty and ugliness, and within these tensions, she expresses the will and hope of life, aspirations, yearnings and fears. Her abstract gestures, intertwined with hidden forms, continually weave a narrative between the worlds she has experienced and those she has never encountered, revealing the artist's connection to an alien and mystical realm. The artist’s work is akin to myths - mysterious yet not fantasy or fiction bur rather a world that closely resembles the non-fictional, one she has sensed and felt.

Language is the very basis of David Douard’s work. The texts and poems he collects on the Internet are manipulated, transformed in order to become a vital flow, feeding into his sculptures. Through language as an ingredient, David Douard redefines space as hybrid and collective by injecting anonymous, chaotic, deviant, ill and frustrating poems in it. As he recreates an infected environment where the real world used to be, the fantasy brought by new digital technologies expands.

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.

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.

Hojung Kim (b.1988), on the other hand, explores the painterly and abstract potential of ceramic—a traditional craft medium—treating its curved surfaces like canvases. Through the alchemical interplay of fire, pigment, time, and touch, her works evoke what might be called a tactile vision. At the core of her practice lies the color blue—a hue symbolic of both the sea and sky, transcendence and stillness. Her moon jars and bulbous vessels carry within them the emotional depth and layered memories of time, made visible through repetition and sensitivity of touch.

Shih Yung Chun is renowned for his diverse range of artistic mediums, which include painting, sculpture, photography, literature, and installation art, all of which are deeply anchored in his investigation of the ordinary and the ceremonial in human behavior. His work begins with the hands-on creation of dolls and minor objects that appear in his paintings. These porcelain dolls and objects, which are the result of a labor-intensive process, are then depicted on canvas in various compositions and stories or transformed into videos. The ceramic objects created in this way themselves become installation pieces, either placed on shelves or hung in plastic bags. Shin’s art is concerned with subtleties in everyday life, particularly the disordered and unexpected details. Utilizing a surrealist style, he dissects the intricate nature of time in his work. He adeptly merges two- and three-dimensional elements, creating a perplexing space that transcends traditional dimensions. His unique methods involving texturing, layering, and surface modification add layers of depth that transcend the tangible aspects of his art. It is like a game with all the prior rules eliminated. In his dual “looking-away”, we find people fleeing the world or take a motionless trip to indulged themselves in another quotidian world, even for merely a moment.

Shih Yung Chun (b.1978) lives and works in Taipei, Taiwan. He received his B.F.A. in the Department of Western Fine Arts from the National Taiwan University of Arts. He has held solo exhibitions at HiArt space (2021, Shanghai), YIRI ARTS (2021, Taipei), Hive Center for Contemporary Art (2019, Beijing), 798 Line-Gallery (2016, 2012, Beijing), Art Experience Gallery (2015, Hong Kong), and more. He has also participated in group exhibitions at KICHE (2023, Seoul), Long Museum West Bund (2022, Shanghai), Hive Center for Contemporary Art (2021, Beijing), FreeS Art Space (2018, Taipei), YIRI ARTS (2018, Taipei), Long Museum Pudong (2013, Shanghai), and more.

Suyeon Kim(b.1986) started working in illustrated bird and plant guide books, encyclopedias, and obscene picture books. She collects the images and makes prints to build three-dimensional objects. These three-dimensional objects are both drawings and objects at the same time. The building method is not fixed as she changes it depending on the images. The recent work is based on a Chunhwa(春畵, literally "spring pictures"). She started with the question: what would I paint if I were a Chunhwa painter? By using sculptures reminding us of classical beauty and flower arrangements, the artist attempts to portray a great fondness existing between lovers who also seek momentary pleasure. The final image contains different perspectives, directions of light, and traces left from the original images, implying that every object in the final image once existed in a different time and space.

Yohei Yama is drawn to elemental energies and his hypnotic works lay claim to the
transcendent power of art to heal, or to atone. From the paralyzing aftermath of the 2011
nuclear disaster in Fukushima sprang the essential motifs that characterize his work – little
trees, rays of light and swirling winds bridge and rebuild the bond between the artist and
nature.

I had painted the landscapes that passed by fleetingly. Looking back, all that remained were the dry landscapes, filtered through my own filter, leaving only monochromatic shapes lingering in my mind. Currently, I'm more focused on expressing the colors and forms of the subjects as perceived through my brushstroke, rather than shaping the mental images in my mind. To be honest, I've deliberated a lot on the subjects I find beautiful and the ways to portray them.

In the natural subjects I observe, there's texture in everything. Trees display different textures based on their types, and when they come together to form a mountain, each tree's texture contributes to a collective yet distinct texture for the entire landscape. The texture of sea waves also varies with time, weather, and seasons, influenced by the direction and intensity of the wind. These textures, filtered through my vision, manifest differently on my brush and create diverse patterns within the rectangular canvas.

As for the subjects, there are no predetermined themes or special elements. However, one thing stands out – I paint natural landscapes that have emotionally resonated with me, excluding human traces. In my paintings, there are no houses, streetlights, power poles, or roads. If you were to imagine the surroundings of the uninhabited landscapes I paint, it might resemble the environment when one is left alone on a deserted island. Perhaps, in my art, I wish to savor, admire, and cherish such landscapes that others might overlook. I hope they get lost in the beauty of the untouched nature I've depicted, with no human presence, and simply indulge in the experience of admiration.

A visual artist based in Bangkok, primarily working with Thai literature and history as well as their discourse and relations to the global narrative. His focus centers on exploring memories of Thai visual arts and cultures through the process of collage, as he endeavors to unveil and question them in various forms and dimensions. Infused with a contemporary aesthetic, the juxtaposition of local and exotic fragments creates an alternative chronicle, prompting a reexamination of the past. It nudges viewers to traverse through whispers of scenes that one might only partially remember, a distant murmur from an elusive past.

Michael Sailstorfer’s site-specific interventions emphasize transformation and challenge conventional rubrics of sculpture. He gives objects new meanings and functions by reconfiguring, though not deconstructing, them. Much of Sailstorfer’s work involves breaking down an object to reveal its physical components, as in the case of Zeit ist keine Autobahn (Time is not a motorway) (2005). The work features a spinning, motor-powered tire pressed against a wall; as the tire wears down, rubber particles collect on the floor and the scent of burning rubber fills the installation space. Sailstorfer cites the site-specific, performative work of Gordon Matta-Clark as a key influence, and says he is “interested in what sculpture can be and how a sculpture can spread out and use much more space than it physically has.”

A little light shines brighter in the dark. Beings with little light, a tree of light held dearly by a dog, fish in a fishbowl seen by a duck, and the subtle glow of the moon contained in a water bottle are things that are hard to see under the dazzling sun. She said, “A ray of light illuminating the darkness reveals many things. It makes me hear the breathing of things that were always next to me but I passed by without notice and reminds me of their importance, like the air.”
A little light becomes hope. A shy step toward the light makes the frozen time flow and the air move. The air becomes wind and passes by the surroundings, instantly pushing the crescent moon hanging overhead far away. And then it soon returns, carrying gifts like the smell of grass, the scent of flowers, the moon halo, and the voices of countless friends who passed by. These are peaceful scenes at night where darkness and light embrace each other.

Jack Shure has exhibited in Guangzhou, New York, Tokyo, Berlin, Chicago, Amsterdam, Los Angeles, Philadelphia, and Taipei. His paintings reconstruct layered experiences of time that run through his life, with images that move beyond the depiction of specific moments or memories to interweave the past, the present, and an as-yet-unrealized future into a singular world. Shure focuses on points where contrasting emotions—such as beauty and ugliness—collide, visually capturing the tension and shifting currents that arise from these oppositions and guiding viewers to reconsider familiar emotions in new ways. For him, images are fluid, organic structures in constant transformation, and while his work originates in personal experience, it ultimately asks how our perceptions of “beauty” evolve and generate new meanings within the sensory worlds he constructs.

SeNa Hwang expresses emotions of loss and anxiety through a symbolic figure—a child with empty eyes. The vacant pupils and sharp whites of the eyes imply complex inner emotions and the possibilities that lie beyond. To articulate and clearly convey these feelings, the artist employs the simple contrast of black and white through the medium of charcoal. The process of drawing and smudging charcoal lines repeatedly resembles the human journey of experiencing wounds, healing, and self-discovery. The work begins as an outlet for suppressed emotions and gradually expands into an exploration of self-understanding and acceptance. The light and shadow within SeNa Hwang's compositions transcend mere visual elements, offering an experience of self-awareness and deep introspection. This reflects the artist's attitude of caring for and healing oneself through affection for others. Her works convey more than visual beauty, inviting viewers to share in the journey of self-discovery and growth amid loss and anxiety.


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.

Shaina McCoy works from photographs to paint her family members in thick, expressive brushstrokes. While her source material is deeply personal, McCoy renders her subjects without faces, inviting her viewers to project themselves and their own relatives into her scenes. As she depicts subjects from many stages of life and employs a wide range of skin tones and compositional styles, McCoy thematizes the diversity and complexity of Black families and experience.

Everything is finite. We are always moving away from one thing, and everything is also moving away from us. It's just a matter of how short a moment it is. ‘Time in Lines’ is a work that reflects this fragile truth. The artist describes landscapes using line as my main expressive language. It reveals the existence of the landscape and at the same time erases its form.

Artists