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.

Marcel Duchamp made irreverent, wildly inventive art that blazed new trails for the 20th-century avant-garde. He briefly worked in a Cubist mode and helped spur movements including Dada and Conceptualism. Though his practice spanned drawing, painting, and installation, Duchamp is perhaps most famous for his “readymade” sculptures: pieces composed of prefabricated objects such as a urinal, a shovel, or a bicycle wheel affixed to a wooden stool, which the artist situated in the middle of the exhibition space. Duchamp saw the readymade as an opportunity to free art from traditional confines of taste and beauty. He studied at Académie Julian before becoming involved in the avant-garde circles of New York and Paris. Duchamp also played tournament chess and, in the last decades of his life, worked in secret on a final installation, Étant donnés (1946–66). His pieces have sold for up to eight figures on the secondary market and belong in the collections of countless institutions, including the Museum of Modern Art, the Tate, the Staatliches Museum Schwerin, the Guggenheim Museum, and the Metropolitan Museum of Art.

A water droplet hovers, suspended in the moment just before it falls. Artist Yoo Choong-mok captures this precarious instant, freezing it within space through the materiality of glass. This moment—poised on the brink of vanishing—is never static; it shifts and transforms with the interplay of light, gaze, and movement. Rather than explaining the subject, his work reveals the very moment when our senses are awakened. At the intersection of water droplet, glass, light, space, and the viewer’s own movements, the work emerges as a singular scene. As viewers pass through, they find themselves slowing down, if only for a brief moment.

Landscape Opens Into ‘The Returning Place’

My paintings explore how landscape opens into The Returning Place.
I am drawn to moments that seem suspended—clouds before they dissolve, waves gathering, or a sky just before night arrives. These fleeting states appear to hold something not yet fully revealed.
Recurring forms such as clouds, waves, moons, and horizons appear throughout my work. What first appears as landscape slowly unfolds into place. Through perception and lived experience, familiar scenes begin to reveal themselves differently.

Rather than depicting real places, I paint the imagination waiting within familiar landscapes. In this sense, my landscapes are not destinations but thresholds—places where perception, memory, and possibility quietly overlap.

My paintings move toward The Returning Place—a place that feels newly encountered yet strangely
remembered, as if it had always been there.

Tuagomstudio (Born in 1986), known as Pazut Wutigornsombathkul, a visionary Thai artist dedicated to propagating delight and merriment. His passion for art kindled during his early years, ignited by his sister's enchanting sketches. Armed with a degree in interior design, he embarked on a three-year journey in the industry before he resolved to pursue his lifelong dream of birthing his very own cartoon character.

In 2014, Pazut embarked on a creative journey, designing characters that were born from his own imagination. He started by combining geometric shapes, crafting them together until they formed a perfect circle, evoking feelings of cuteness, simplicity, and harmony. This led to the birth of “Tuagomstudio”, a name that would become a wellspring of inspiration for the artist to share positive emotions with those who encountered his creations. It became a small, bright light in the darkest of days for anyone fortunate enough to witness his work.

Pazut is not just an artist but also an ardent photography aficionado, and this passion significantly informs his paintings. Every brushstroke and meticulously selected hue in Tuagom’s realm reflects his photographic perspective. His palette primarily comprises the cheerful shades of yellow and light blue, symbolizing sunshine, hope, laughter, warmth, happiness, and vitality, all designed to elicit spontaneous joy and tell the tale of Pazut’s profound bond with art.

His first solo exhibition, ‘On Cloud Nine,’ opened in 2023 at River City Bangkok. It took the audience on a trip through the friendship and bond between ‘Gommie’, the character of a happy chubby boy, and his dog 'Bingsu', which was warmly welcomed. Then, in 2024, Tuagomstudio showcased his Art toy series ‘I'm a couch potato’ at the Pop Toy Show 2024 in Singapore, where it was highly appreciated by collectors from Singapore and other Asian countries.


JHR’s projects explore the ways in which the problems we face in reality are dealt with in the virtual space. Hyeryun JUNG(b.1977, S.Korea) has been creating material/non-material visual works with aspecial interest in the organic relationship humans develop with their environment. She completed her Ph.D.(2014) in Fine Arts at Pusan National University. Her main solo exhibitions include US2-Migration(Soma museum of art, Seoul, Korea, 2023), Treasure island(Rhee Seund Ja Jinju Art Museum, Jinju, Korea, 2020), Landscape of –1(L'H du Siege Art Center, France, 2019), and Serial Possibility-planet(HIGURE17-15cas, Japan, 2016). She has also participated in numerous projects and group exhibitions at home and abroad such as the inaugural exhibition of the Museum of Contemporary Art Busan(2018), Biennial InterAction NAPOLI(Made in Cloister, Napoli, Italy, 2023) and Kenpoku Art Triennale (Fukuroda Falls, Japan, 2016).
She received the First Soorim Art Award from Soorim Cultural Foundation(2017), was selected as a Young Sculptor of Today by Kim Chong Yung Museum(2012), and joined residency programs at L'H du Siege(Valenciennes, France, 2018) and Kuandu Museum of Fine Arts (Taiwan, 2013).

The landscapes of Kwon So-young (b. 1986) carry traces of time and the lingering resonance of memory. She explores the subtle sensibilities that arise between one presence and another, and the quiet tremors that exist beyond visible form. Within the interactions of ink, water, and hanji, intention meets chance to create layered depth, capturing the breath of what remains even within what has disappeared. Her landscapes portray nature as both a site of memory and a record of emotion, where stillness is not a frozen moment but the movement of time that flows and leaves its mark.

Koh Sang Woo is a renowned multidisciplinary Korean artist best known for his signature “Blue Tone” artworks, which explore themes of animal extinction and human identity. His expressive use of color and climate focused topics has earned him recognition both in Korea and internationally. Join us on a journey through the world of Koh Sang Woo, where art serves as a powerful tool for positive change, addressing global issues and transcending cultural boundaries. His impactful artworks not only grace K-Dramas but also capture the attention of galleries and museums worldwide. 

Pablo Ruiz Picasso was a Spanish painter, sculptor, printmaker, ceramicist, and theatre designer who spent most of his adult life in France. One of the most influential artists of the 20th century, he is known for co-founding the Cubist movement, the invention of constructed sculpture, the co-invention of collage, and for the wide variety of styles that he helped develop and explore. Among his most famous works are the proto-Cubist Les Demoiselles d'Avignon (1907), and the anti-war painting Guernica (1937), a dramatic portrayal of the bombing of Guernica by German and Italian air forces during the Spanish Civil War. Picasso demonstrated extraordinary artistic talent in his early years, painting in a naturalistic manner through his childhood and adolescence. During the first decade of the 20th century, his style changed as he experimented with different theories, techniques, and ideas. After 1906, the Fauvist work of the older artist Henri Matisse motivated Picasso to explore more radical styles, beginning a fruitful rivalry between the two artists, who subsequently were often paired by critics as the leaders of modern art. Picasso's work is often categorized into periods. While the names of many of his later periods are debated, the most commonly accepted periods in his work are the Blue Period (1901–1904), the Rose Period (1904–1906), the African-influenced Period (1907–1909), Analytic Cubism (1909–1912), and Synthetic Cubism (1912–1919), also referred to as the Crystal period. Much of Picasso's work of the late 1910s and early 1920s is in a neoclassical style, and his work in the mid-1920s often has characteristics of Surrealism. His later work often combines elements of his earlier styles. Exceptionally prolific throughout his long life, Picasso achieved universal renown and immense fortune for his revolutionary artistic accomplishments and became one of the best-known figures in 20th-century art.

Soo Kyoung LEE (b. 1969, S. Korea) lives in Paris and works in Paris, Brussels and Seoul. She is represented by Galerie Oniris in Rennes, MM Gallery in Brussels (Belgium) and Accompany in Busan (South Korea).

Soo Kyoung LEE creates her work by accumulating, visualizing, and erasing various actions through momentary intuition and constant observation. When several layers are stacked as the finished work is erased and overlapped again, the background color and shape may turn into the main character or new shapes may be created on it again. In a plane, these layers produce infinite depth, repetitive time, and rhythm.

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. 

Heejoon Lee creates abstract paintings from images of the natural world. In 2012, he earned a bachelor's degree in Fine Arts and Sculpture from Hongik University, and a master's degree in Fine Art from the University of Glasgow School of Art in 2014. In this way, the artist collects, edits, and brushes the accumulated experiences and daily images obtained from travels from close surrounding to distinct locations, and incorporated them into geometric shapes. The composed instant images add the texture and time of the accumulated paint to generate a new space on the canvas. In addition to the photo collage and thick matière geometric shapes in <The Tourist> in 2020, the artist shifts his focus from minor objects to the surrounding landscape and extends the visual experience beyond abstract painting to the experience of space in which architecture and painting coexist.

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.

Theresia Venance Massawe (Theresia M.) is a Tanzanian painter who believes creativity promotes healing. Drawing from cartoons in local newspapers and animated films as a child, and the organic shapes in her surroundings, led her to pursue painting.
Her distinctive style has drawn numerous art enthusiasts from various backgrounds. In March 2022, she presented in a group exhibition "An Ode to Women" at Rangi Gallery, where she had previously participated in the Ashley Collins Workshop. In July 2022, she also took part in an exhibition at the American Ambassador’s residence in Tanzania, the Torrent Exhibition at Nafasi Art Space in 2023, and Women Artist Art Week exhibition at Rangi gallery.
She has also recently had her solo exhibition “ALL ROADS LEAD HERE” at the Dar es Salaam center for architectural heritage.

Hiroshi Nagai (Japanese: 永井博, born December 22, 1947) is a Japanese graphic designer and illustrator, known for his cover designs of city pop albums in the 1980s, which established the recognizable visual aesthetic associated with the loosely defined music genre

Billy Gibney has exhibited in New York, Norwich, London, Madrid, Milan, Melbourne, Sydney, Amsterdam, and Auckland, and he approaches existing objects and scenes not simply as subjects of representation but as “mediators” that condense narrative and memory over time. These mediators expand across a wide range of sources, including the artist’s personal photographs, film stills, online auction images, and privately owned objects and souvenirs. To foreground this mediating role, Gibney treats the surface of his paintings with materials such as glass powder and wax, which metaphorically evoke stones or fossils bearing traces of time. Through this material process, his images are endowed with a sense of historicity, durability, and permanence, and his paintings emerge as crystallized condensations of the forms and scenes through which he perceives the world—visual records that directly articulate the artist’s worldview.

Kang Kang Hoon's portrait series not only captures external features but also delves into the deeper emotional essence of each subject, inviting viewers to confront their true selves. His daughter, a recurring motif, serves as both the focal point of the artwork and a reflection of Kang himself. In a recent oil painting series, Kang incorporates symbolic object cotton, inspired by a yearning for his recently deceased mother. The contrast between withered branches and bloomed cotton subtly conflicts and harmonizes, contemplating intergenerational connections. Employing cotton as a metaphor for the enduring connections within humanity, Kang explores broad themes of the past and future on the delicate realm between figuration and abstraction.
Major exhibitions featuring his works include the Jeju Museum of Art, Jeju; Wooyang Museum of Contemporary Art, Gyeongju; Clayarch Gimhae Museum, Gimhae; Gyeonggi Provincial Museum, Ansan; Jeju Museum of Contemporary Art, Jeju; Gyeongnam Art Museum, Changwon, and Seoul Museum of Art, Seoul. His works are in the collection of the National Museum of Modern and Contemporary Art. He has been featured and sold out at numerous art fairs worldwide, including Hong Kong, Singapore, and Shanghai, and he continues to remain active internationally as one of the most recognizable, leading artists in Korean contemporary art today. 


Expanding the language of craft to an architectural scale, Lee Myungjin conceives and fabricates ceramic modules engineered with upper–lower joints. Where modules meet, lines and planes intersect; steps between verticals and horizontals accumulate into an open-ended system, and in the cadence of repetition an assured sense of architectural proportion emerges.
Built coil by coil, the clay locks together with the precision of masonry, while the finished surfaces and tones recall concrete, brick and other building materials. This approach grows from the artist’s resolve to push past studio constraints and actively recalibrate form and scale—a throughline made clear in the series Stacked Room and Column.

Lee’s works fuse craft exactitude with an architectural syntax: the poise of line and plane, the discipline of proportion and interval, producing objects where utility and figuration coexist. The module, as a primary unit, operates like the language of an architectural drawing—densely plotted lines and symbols. Yet Lee moves beyond that regimented order, continually experimenting with and substantiating new sculptural silhouettes through varied permutations of the module.


Pannaphan Yodmanee
b.1988, Thailand
Currently lives and works in Nakhon Si Thammarat, Thailand
 
Pannaphan Yodmanee combines found objects, natural elements such as rocks and minerals, and painted elements that recall traditional Thai art and architecture. The artist examines the relevance of Buddhist philosophy to our lives. Through her works, she explores Buddhist philosophy and cosmology. Utilising a combination of raw, natural materials with found objects of contemporary origin, her works imbue the painted designs and motifs endemic to traditional Thai art with the universal and persistent themes of loss, suffering, devastation, and the karmic cycles of death and rebirth. 

Pannaphan Yodmanee has widely exhibited her work and attend international art events including the She POSSIBLE International Women's Day (2023), Art collection in Soho house Bangkok (2023), PARADISE Lost BACC Bangkok(2023), Art Basel Hong Kong (2022), Art Macao (2021), 15th Lyon Contemporary Art Biennale (2019-2020), 11th Bienesse Prize, Southeast Asian, Shodoshima Island, Japan (2019), The 9th Asia Pacific Triennial of Contemporary Art (APT9), Gagoma, Australia (2018), The 1st Bangkok Art Biennale (2018), TIME LAPSE, Tang Contemporary Art Gallery, Beijing, China (2018), An Atlas of Mirrors, Singapore Biennale 2016, Singapore Art Museum, Singapore (2016), Thailand Eye, Saatchi Gallery, London, UK (2015), Myth/History II: Shanghai Galaxy, Yuz Museum, Shanghai, China (2015) and Thai Charisma: Heritage + Creative Power, Bangkok Art and Culture Centre, Bangkok (2014)

Her received numerous awards such as 1st Prize, Bualuang Gold Medal, The 35th Thai Traditional Painting Awards (2013), as well as the 1st Prize of the 1st and the 2nd Young Thai Artist Awards (2006, 2007). In 2016, Pannaphan Yodmanee also won the prestigious 11th Benesse Prize.


Based in Seoul, Lee Heami explores the diverse material qualities of clay. She creates freely formed objects unbound by function, and through the repeated process of silvering their surfaces, she speaks to the accumulation of time and the nature of connection. By hand-building, firing, and layering silver onto her forms, she expresses a condensed beauty and fluid sensibility — works that respond with quiet attunement to the temperature and humidity of a space, drawing the viewer into a sensory dialogue. Lee Heami's practice is an open-ended sculpture that transforms through relationship, always moving toward but never fixing itself at completion.

Since 2006, Lee Sangwon has been exploring the “aesthetics of rest” in our time through landscapes of leisure destinations such as ski resorts, swimming pools, and parks. He closely observes the patterns of specific places and spaces where people gather, and through his RESTOPIA series, poses the question: “What does true rest mean in this era?”

His works deviate from traditional perspective, combining various viewpoints such as bird’s-eye views from elevated positions, panoramic angles using 180-degree wide shots, and close-ups or upward gazes at specific subjects. These diverse perspectives make ordinary landscapes feel more extraordinary. Using the characteristic thickness of oil paint, he captures the textures of his subjects, and by traversing the boundary between abstraction and figuration, he explores new possibilities in contemporary painting.

Park Cheol-ho was born in Jeongeup in 1975. All of his creative stories are connected to form a worldview. Each story captures a moment in the personal history of human culture where complex emotions intersect. He determines the achievement of his work by the length of time the audience stays in front of his work. He does not unilaterally convey the artist’s story but seeks a communication method. The most important thing for the author is humor. Self-taught artist Park covers various media, including fiction, playwriting, painting, photography, video, film, sculpture, installation, and performance.

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.

Artists