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.

Tae Woo reinterprets traditional Korean landscape painting through a contemporary sensibility, grounding his practice in wayu (臥遊)—“traveling while lying down”—to paint landscapes of memory and imagination rather than literal scenery.

His recurring motif, Gasuho (家守虎)—a “home-guarding tiger”—carries a Korean folk-painting (minhwa) spirit, echoing the folk-inflected tiger imagery recently popularized in Netflix’s animated film KPop Demon Hunters. Birds and children symbolize family and intimacy, reflecting on ways of living and the warmth of relationships.

He gained public recognition after winning KBS2’s No Money No Art (2022), presented HOHO Garden at Gana Art Park Museum (2025), and has released NFT drops via Upbit.

The internationally acclaimed filmmaker Park Chan-wook (b.1963) has demonstrated his passion for photography through a wide variety of media channels. Park questions himself the reason behind the act of taking a picture, leading audiences to contemplate the nature of photography as a medium. In stark contrast to the carefully orchestrated scenes in his films, his photographs readily embrace happenchance and the unexpected, while at the same time possessing incisive and wry humor coupled with powerful drama. As the artist describes his photography practice, coincidence and spontaneity play crucial roles in his photographs as an 'antidote' to his experiences in filmmaking. Park, who as a commercial film director would have most astutely trained the ability to capture the sentiment of the times in his works, provides us with the motive to proactively expand the realm of unexpected beauty within the most habitual scenes of our everyday life.

Embarking on his career in 1991 as a freelance sculpture artist, Pawarest Choksaen (Doe) (b.1970, Bangkok, Thailand) transitioned into the role of Art Director at an advertising agency in 1997. In 2019, he made the pivotal decision to resign from the advertising agency, embracing a full-time commitment to his passion as a fine artist.

In his artistic journey, Choksaen delves into the lives of those in his community, keenly observing their gestures, activities, and diverse perspectives. Through the expressive medium of acrylic paintings, his works become windows into the stories that unfold in the everyday lives of individuals within different contexts.

Born in Tehran, Iran in 1972, Golnaz Fathi is an influential member of a currently thriving generation of artists to surface in Iran over the last twenty years.
Fathi investigated ever more abstract forms of representation, using modern media to aid these explorations, while still basing her work on fundamental calligraphic practices and techniques. The introduction of bold swatches of colour further emphasised her transition from a codified system based on prescriptive rules to an alternative idiom that gave precedence to her own imaginative modes of subjective expression.

Philippe Parreno is a French Artist who rose to prominence in the 1990s, earning critical acclaim for his work that spans a diversity of media, including film, sculpture, drawing, and text. Parreno’s work redefined the exhibition experience by taking it as a medium, placing its construction at the heart of his process.
Parreno has exhibited extensively and has work in major institutions worldwide. His presentation at Cahiers d’Art inaugurates a year of major exhibitions and projects, including solo presentations at the Leeum Museum in Seoul, the Haus der Kunst in Munich, and an important project at the Fondation Beyeler in Basel.

Le Phi Long (b.1988) is a visual artist based in Ho Chi Minh City and Dalat, Vietnam. He
graduated in interior design at Hue Fine Art University in 2012. Long’s practices include paintings,
site-specific art and conceptual objects. His practice is based on the study of the historical and
geographical origins of humans, intervention in the cultural shift and the effects in the community,
especially his generation.
Long feels that his generation lacks knowledge of Vietnamese history. Local materials and teaching
documents about this matter are incomplete, and this has impacted the way his generation identify
themselves, their journey of self-development and the connection to the international community.
Long is eager to search and compare local and international materials to close the knowledge
gap. Since 2016 Long has been focusing on the Dong Duong Lang Du project, which examines
French Indochina archives (late 19th and early 20th centuries) to explain the concern in the issue
of generation transmission in Vietnam.
Long co-founded the artist residency eNAME Art Center in Hanoi (2012) and MOIland, an art
center in Dalat (2017). He took part in residencies at Sàn Art in Vietnam (2013), the Bamboo
Curtain Studio in Taiwan (2015), Asian Highway Project in Korea (2018) and the Cité
Internationale des Arts in Paris (2020). Phi Long has exhibited and taken part in programs in the
UK, USA, Belgium, Portugal, France, Korea, Taiwan, Thailand and Vietnam.

Gijeong Goo’s practice begins by interrogating the conditions through which images are produced and the hidden structures that sustain them. Transforming real landscapes into digitally rendered imagery and reconfiguring them as installations in physical space, he explores the intersections of humans, machines, and nature. Oscillating between sensation and perception, reality and virtuality, structure and interpretation, his work ultimately raises critical questions about how images are constructed and perceived within today’s multi-layered visual environment.

Eun Sook JEON (b.1980, S. Korea) lives and works in Seoul.
She completed her M.F.A.(2006), B.F.A.(2003) in Sungkyunkwan University. Her main solo exhibitions include ≪Fragments of Sensation≫(Space xx, Seoul, 2024), ≪Slow Move≫(JIDAM gallery, Seoul, 2024), ≪Pacho≫(accompany, Busan, 2023), ≪Pipetting≫(Pyo gallery, online show).

Eun Sook JEON, an artist reminiscent of a TikToker in the art world, exudes an energy that bridges an anxious era with positivity. Her work blurs the line between realism that feels abstract, abstraction that feels realistic an improvisation that transcends boundaries, akin to an anthology of short stories where each scene carries its own distinct narrative. The artist’s character, which dismantles preconceptions, is evident in every aspect of her paintings. She finds beauty even in the flowers blooming in the garden of a redevelopment apartment complex, revealing empathy for soon-to-disappear places and discovering urban gardens in their natural state, thriving only when untouched by human influence. …The keen wiht evident in her work shines particularly as it embodies the stark contrast between life’s expectations and their actual outcomes. Her paintings resemble a collection of life’s ironies compiled as short stories, not for the sake of a polished narrative but to express a genuinely human language through color. _ by Ahn Hyun-jung (Art critic and PhD in Art Philosophy)

Jinhyung Lee begins with images gathered from the internet, books, and everyday life, yet sets aside their content and narrative to focus instead on the conditions of perception. Nuances of color, trembling contours, density, and texture do not seek to explain the image, but reveal the state that lingers in the act of seeing. In his work, the image is not an object of representation; it exists as a residue of sensation—stripped of meaning and transformed into the materiality of painting.

Jo Jae, an artist based in Seoul, is fundamentally interested in the concept of "space" — a place created, inhabited, and sometimes demolished by humans. A space itself symbolizes the people who occupy it, and its inhabitants inevitably leave traces of themselves. These traces can become important clues, sparking intense curiosity. Driven by this curiosity, Jo Jae crafts stories with images based on these clues. Her work spans photography, installations, and even design, but she sees no difference between these acts. Photography, as the flat print of tangible objects, conveys an ethereal subject matter, allowing the relationship between images and stories to leave room for imagination. This is why photographic media currently remains her most preferred medium.
Jo Jae’s work begins in the virtual realm. Since 2020, she has been translating the intersection between digital images and their original counterparts into a sculptural form. By visualizing the gap between digital images and the unprocessed originals, she aims to establish a new sense that bridges the virtual and the real worlds.

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.

Alimi Adewale was born on 8 May, 1974 in Lagos, Nigeria. Although he studied mechanical engineering, he developed an interest in art by going to exhibitions. He furthered his extensive knowledge of art after graduating by attending various art workshops around the world.
Adewale uses the mediums of painting, sculpture and installation to explore urban issues and the lives of everyday people in cities. Some of his work examines the impact of excessive urbanisation, rapid modern development, and the growing global economy on society. His practice combines elements of minimalism and abstraction to evoke the dynamism and intensity of the cosmopolitan environment. Most of his work has a profusion of rich textures and oftentimes an uncommon
sculptural finish, whether utilising photography and oil paint (Owambe, 2015) or thick lumps of oil mediums (House of Assembly, 2013).
The artist mines the endless possibilities of a particular material to introduce an additional dimension into the work: that of time. Imbued with their own mortality, his sculptures cultivate the experiential function of art compared to traditional African sculptures, creating an oeuvre that
is distinctly current and as witty as it is macabre.

Jina Park employs snapshots to capture scenes of the everyday and translates them onto the canvas as paintings. Portraying the colorful expressions of exhibition installation sites, performance rehearsals, and night time sceneries, the platform of paintings allows the audience to look back on the otherwise unnoticed or forgotten mundane life anew. Simply defining painting as “both an image and a material,” Park focuses on its unique materiality. As her working process concentrates on repetitive physical contact with the canvas, the transient moment captured by chance with the camera is reconstructed on the canvas over a prolonged period of time. The fleeting moment that could have been easily bypassed, dons new materiality and temporality. One figure may repeatedly appear in various works, while another figure may appear numerous times within a single frame. Sometimes multiple photographs are rearranged into one composition. As such, Park’s paintings are the products of combining images from various timelines through her own painterly perspective.

Jiyoung Yoo studies artificial orders and systems that are found in everyday life, and the history of objects that belong in such system. As a subject of painting, the artist observes and collages various forms of objects such as eggs, water cups, manuscripts, calendars, and clocks that are often categorized as one unit or assembled as a bundle. This unique practice highlights the idea of relations in paintings. Visually intersecting and yet limiting the conditions of systems that each object has, the variations that the artist depicts present a new perspective in her own language.

Doyo is a collage artist that focuses mostly on album cover design, print artwork, and art directing. The artist who became interested in collage work in 2016, studies Photoshop by himself and combines every item to communicate imagination and romance. Through the artist's unique use of colour and atmosphere, conveys to modern people the romance and relaxation of daily life.

A visual artist, filmmaker and storyteller, Korakrit Arunanondchai employs his versatile practice to tell stories embedded in cultural transplantation and hybridity. Arunanondchai is an avid collaborator who has worked on videos, performances and music together with an extensive list of people. Arunanondchai’s first video in a series of work, 2012–2555 (2012), arose from the ideas of death, rebirth and the fictionalization of time, was shown at MoMA PS1 in New York (2014). Together with Arunanondchai’s twin brother Korapat Arunanondchai, the performance artist, boychild and artist Alex Gvojic, they produce a live performance to accompany the video installation as part of the Sunday Sessions at MoMA PS1. In 2015, He exhibited Painting with history in a room filled with people with funny names 3 at Palais de Tokyo, Paris and in 2016 exhibited as Arunanondchai’s first solo show at BANGKOK CITYCITY GALLERY. In early 2018, Arunanondchai co-founded Ghost Foundation, a non-profit organization aimed to support a video and performance art series in Thailand entitled Ghost. He curated its inaugural series, Ghost:2561, during October 11–28, 2018 in Bangkok.

Arunanondchai’s works have been exhibited in numerous venues, including his recent installation “nostalgia for unity” (2024), in which the artist explores negative space and uses it as the primary medium. This exhibition is held at Bangkok Kunsthalle, Bangkok.

Chetsada Phuwiang employs the innovative mediums of sand and airbrush painting, creating vibrant abstractions of haptic experience. Through images of fleeting physicality, his works engage with dialogues around queer sensuality and sexuality. He explores the tensions surrounding intimacy and belonging, dissolving the boundaries between bodies and bodies in space.

Fanko dreams of communicating with the world through creative activities based on her daily life. Life goes by and many things happen. Through paintings, she wants to remember the ordinary emotions that we miss or almost forget as time passes by. She said, “The character in the painting is myself, the artist, and at the same time symbolize the people around me. Sometimes I feel like I'm talking to them, and sometimes I feel like I'm listening to their story. I am fascinated by the shift of identity as this.”
The main character in the painting sometimes is an adult and sometimes a child. This emotion is what she feels about herself, and it is constantly being switched and overturned in her mind. The transition of a moment is the essence of her existence and identity. She is growing as a human being and an artist by depicting the ordinary emotions felt in everyday situations that combine self and others, the complex and the simple, the realistic and the imaginary. The story is told in a comfortable and natural way through the familiar style of the main character in the painting. Recently, she has been expanding her medium to include acrylic paint, oil pastel, pencil, photography, animation, and ceramics.

Sung Min Woo is a contemporary artist who explores ecological order and the dignity of existence through marginal life forms, particularly grass. By capturing the tenacious vitality of grass-often overlooked-the artist extends its quiet resilience into narratives of organic interconnectedness that shape our shared lives.
The work moves beyond simple representation of nature, focusing instead on the values and relationships between beings. Using a distinctive technique of gold leaf and traditional pigments on silk, Sung elevates plants grown in harsh environments into sacred presences. The delicate stems and leaves spreading across the luminous golden surface visualize the unseen flow of life, inviting viewers to reflect on a sense of awe toward all existence and the value of coexistence.

Arin Rungjang is known for deftly revisiting historical material, overlapping major and minor narratives across multiple times, places, and languages.

Artists