Faozee or Narathip Leewan (b. 1998) is a Thai contemporary artist whose visual language speaks directly to the heart. A graduate of the College of Fine Arts and later the Faculty of Fine and Applied Arts at Chulalongkorn University, Faozee discovered his love for art at a young age and has since regarded it as a “language of emotion”—a way to communicate thoughts and feelings without the need for words.

Gon Jeong depicts diverse forms of love through his paintings He is currently working in Seoul and gets inspiration from people's conversations and emotions. It is believed that it is completed through the process of being comforted and empathized in everyday human relationships, and the artist intends to convey a message of consolation to visitors through love-themed works.  

Haegue Yang creates installations that include photographic, video, and sculptural elements and are informed by her philosophical and political researchs. Responding to the places where she exhibits, Yang creates site-specific new work that incorporates both the architecture of the exhibition space and materials gathered from the region. Her highly refined and yet particular sense of materiality, combined with an elegant sense of space and atmosphere, contribute to her enveloping and resonant installations.

Jina Jung creates paintings and new media art that alter the invisible properties of changing water, wind and other elements in nature. She completed master's degree in the Interactive Telecommunications Program (ITP) MPS at New York University's Tisch School of the Arts. The artist takes photos of nature or collects such images from the web and stores of VR and 3D space software, then renders them into unrealistic sceneries in VR or video works. She then reassembles the flattened objects, or the visible and penetrable scenes seen in the virtual space on a canvas as a painting. Through the process of transforming and capturing a space that actually exists into an unfamiliar image, she provides an opportunity to consider the logic of subverted nature.

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.

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.

Renowned for his use of exaggerated anatomical forms and a vibrant spectrum of colors, Lee Hongmin builds his practice upon the narrative of his own life, drawing inspiration from the animations and comics embedded in his memory. Growing up in a somewhat authoritarian environment, the artist found in animation a realm of fantasy—one that playfully subverted the taboos of reality. Through the language of comics, Lee sought to break free from the pressures of Korea’s standardized education system and the constraints of traditional culture, challenging the authority around him and envisioning an imagined world unbound by social prohibitions.

Lee’s practice centers on the emotion of anger, exploring its primal force and the questions that emerge in its aftermath. Paradoxically, his works radiate a strange purity amid their explosive energy—a quality born from his profound contemplation of rage and the sincerity of his expression. Since his debut solo exhibition in 2015, Lee Hongmin has continued to present raw, unfiltered manifestations of anger to the public through dynamic solo shows at Gallery Stan and, most notably, his 2020 debut at Christie’s.

Born in 1990, Buwon had a profound interest in toys, play, and street culture from an early age. While studying industrial design at university, he became deeply immersed in 3D tools and created a rabbit character as a motif of himself. Buwon began to build his career as an artist, creating paintings and art toys.
 
Buwon wishes to convey messages about the journey of life and personal growth through his artistic expressions. His lovely rabbit character is the portrait of the artist himself, inspired by his childhood nickname. Behind the image of an adorable rabbit lies a cynical concern, intertwined with the artist's life. The artist draws inspiration from various experiences, conveying messages that encompass both positive and negative emotions, which include happiness, joy, anxiety, and fear.
 
Buwon comprises two distinct forms of art: paintings and art toys. The artist creates digital sketches before transferring them onto the canvas using acrylic paints. He often incorporates unique materials like fur or modifies canvases and panels to enhance his artistic expression and creativity. When it comes to his art toy production, he primarily focuses on creating the rabbit character. He first creates digital sketches and then builds their form through 3D modeling.
Once the design has been completed, he prints out the outcome using a 3D printer and carefully paints and finishes the toy.
 
Buwon has previously collaborated with renowned brands such as Hyundai Motor, Simmons, MCM, SJYP, Giordano, Line Friends, Nike, Asics, and artist Code Kunst. The artist is constantly expanding his artistic boundaries by holding exhibitions in different regions such as Las Vegas and Jakarta.

Benzilla (Parinya Sirisinsuk)
b.1984, Bangkok, Thailand

Parinya Sirisinsuk or better known as Benzilla, is a graduate of Fine and Applied Art from Bangkok University. The artist finds profound inspiration in the realms of Japanese and American Pop Culture, Street art, Sci-Fiction. Guided by the character "LOOOK," a 3 eyes alien that presents a concept of perspective of an outsider. 
Benzilla combines the techniques of craft painting, spray painting, and graphic art to craft a mesmerizing narrative.
Benzilla’s work challenges boundaries, ignites contemplation, and humbly invites viewers to explore the intricate complexities of our world. Delve into the realm of curiosity and embark on an enlightening journey through the artistic.

Yun Taein’s practice can be understood as an exploration of how soft and fluid materiality shifts into the language of structure and form. Taking materials such as clay and sponge—substances that respond sensitively to external pressure and contact—as her point of departure, the artist attends closely to the moments in which the movement of the hand, the resistance of the material, and the incidental traces produced in the making process become layered and accumulated. Impressions, curves, smudges, and tears left on the surface are not treated merely as by-products of process, but as formative clues that anticipate the structure of the work to come. In particular, organic forms that emerge in a pliable state are later transferred into materials of opposing character through processes such as metal casting or wood carving, allowing the traces of softness to become newly embedded within hard and solid matter. In this way, Yoon Taein’s work delicately reveals the moment in which one materiality is translated into another, traversing sensation and structure, pliancy and solidity, accident and construction. While her furniture and objects reference functional forms, they do not remain confined to the realm of utility; instead, holding within them the residue of sensation and the memory of material, they invite reflection on the sculptural potential inherent in softness.

Turakella Gyindo (Tura) is a Tanzanian multidisciplinary artist and curator based in Dar es Salaam, whose practice spans painting, installation, and live performance. Inspired by human nature and its adaptation to a rapidly changing world, she explores themes of intersectionality, identity, and belonging — envisioning a sense of self that extends beyond rigid social categories. Since completing the Curatorial Practice and Art Management programme at Nafasi Art Space Academy in 2021, she has curated and presented work across exhibitions and residencies in Tanzania, including at Alliance Française and the Goethe-Institut Dar es Salaam.

EUM Hyunchul studied hotel management in Switzerland and later majored in film in Korea. After working across film, advertising, music videos, and as an MTV Creative Director, he developed his own distinct way of observing and interpreting images through these diverse experiences.

For him, tufting is not simply a craft technique, but a way of transforming images and sensations into tangible surfaces. The repetitive hand movements, density, and subtle differences in texture become a method of constructing the surface like a painting, while at the same time revealing a strong sense of materiality similar to sculpture.

My work begins by extracting formative elements that can be found in natural objects. 
It is to collect the formative beauty and aesthetical beauty of nature and reconstruct the canvas based on it. The images displayed on the screen are mainly expressed in the form of flowers or plants. For this case, the object shown in the form of a natural object is only an element used for color and formative harmony. Several flowers from a single stem are sometimes embodied as having different colors and shapes and some float the canvas without a starting point. Also, shapes unrelated to natural objects are placed in various places on the canvas and it is because the shapes on the canvas do not follow the biological structure of nature and it means that the images have their own form, not the result of imitation. Each formative element is recognized as a single piece in composing the canvas. A series of processes to approach the formative beauty by refining the shape until it has the desired shape is similar to working with a piece. The individual pieces completed at the same time act as an element again in the larger screen, serving as a small piece’s form. 

The finished pieces take the most harmonious position for the canvas composition. In this way, the process of deleting and inserting shapes until I reach the scene that I feel is the most beautiful can be said to be the process of creating a piece with a greater meaning.

Flowers and plants we encounter in our daily life are kind subjects. Many of them are immobile and stationary in their place, but they appear in various forms that accommodate changes according to the environment. I do not perceive them as fixed or complete images, but accept them as formative elements of points, lines, planes, colors, and shapes.

When I find a subject I want to collect among the forms created by natural objects, I draw on the spot. I extract the components or elements I want to be influenced by or needed for future work and bind them to my notes. At that time, I  do not bring all the forms as they are, but remove the details and collect them in a condensed form.

After that, I continue referring to the drawings in my binding and adapt the artistic senses that come from them, and I try to learn the formative aspects and the colors through this process. While repeating the process of mixing or refining the drawings collected and reinterpreted on the canvas, by accumulating harmony and order of the formative elements, I wanted to discover my own sense of aesthetics. 

Kim Seoul was born in 1983 in Daegu, South Korea, where she spent her early years. After graduating from the Department of Printmaking at Hongik University, she went on to earn both her master’s and doctoral degrees in Painting and Printmaking from Tama Art University in Japan. Though her real name is Kim Sohee, the artist works under the name "Kim Seoul." This choice was inspired by other artists who create a separation between their personal identity and artistic persona. She selected "Seoul"—a name recognizable even to those outside Korea—as a way to symbolically represent her practice and identity as an artist.

In her series “Solitary Box Diary,” Kim Seoul shifts from her earlier works, which visualized urban density and solitude through box-like structures, to a more introspective focus on personal space and daily life. She folds cardboard boxes and flattens them onto paper surfaces, using silkscreen printmaking techniques to highlight the traces left behind. Everyday imagery and experiences are then drawn over the surface, inviting viewers to reflect on and connect with shared moments from ordinary life.

﻿I begin my work by examining the surface of worn coins, an act that calls forth forgotten civilizations rather than mere observation. Using optical and electron microscopes, 
I extend microscopic surfaces beyond the limits of the naked eye and translate them into visual language, juxtaposing additional images onto the metal.
The microscopes are not merely tools of magnification but devices that transform perception. I no longer see coins as currency, but as material records where power, belief, and identity are compressed, their cracks and textures revealing layers of time and history. I overlay these surfaces with newspaper articles, film scenes, and symbolic objects, allowing images from different eras to collide and intersect within a single frame.
For me, magnification is both a physical expansion and a metaphorical leap toward deeper perception, where scientific visuality and imagination coexist.
Ultimately, this work uses technology to reveal the unseen and question what is recorded or erased, turning the coin into a canvas for lost voices.

An artist working in Seoul, South Korea. Studied painting and art history at Ewha Womans University and graduated the Graduate school with a master’s and Ph.D. degree as well. Solo exhibitions include ‘Manifesting Blacks 發玄’ (Seongnam Cube Art Museum, 2019), ‘Fire & Waves’ (Cheongju Art Studio, 2020), and ‘Esquisse Symphony’ (Sahng-up Gallery, 2022).” Selected for Arts Council Korea’s The First Application in the Life of an Young Artist (2023) and named ONSO ARTIST by Hyundai-CMK Foundations (2022), Artist-in-residence for the 14th term at the Cheongju Art Studio (2020). Recipient of the Outstanding Thesis Award twice for master’s thesis and doctoral dissertation on own artworks.

Luke Park creates a new beauty through the aesthetics of imperfection and minimal expression on an empty canvas. The artist, who majored in Business at Hongik University and received a master's degree in Arts and Cultural Management from the graduate institution, is claimed to have been interested in traditional Japanese culture for a long time. In particular, the Japanese dry garden culture, known as Zen Garden, influenced his current style of painting. Instead of incorporating incidental components in his works, he attempts to convey the meaning solely through the flow of brushstrokes. Exploring the true nature of life, the artist reveals via his works the necessary approach to life in our materialistic society. 

Based on an interest in 'how a wishing heart manifests in daily life,' Seokwoo Chung visualizes the energy emitted when a being strives toward something. He is fascinated by the flow of consciousness formed from cause and effect, and by the culture of wishes permeating the mundane. Drawing inspiration from the fundamental cultures of various religions, his current work extends the realm of the canvas by basing it on painting and incorporating installations in space. He implements a device that amplifies the characteristics of each, by going through various processes with painting works that correspond to the nature of specific spaces or places.

Yan Lei (b. 1965, Hebei, China) graduated from the Zhejiang Academy of Fine Arts (now known as the China Academy of Art) in Hangzhou in 1991. Yan is a singular and unconventional figure in the Chinese contemporary art world. Adopting an independent and distant attitude, he explores and
unveils different issues, such as power relationships, competition or the closeness of values and prices that exist in the art system through various media including painting, sculpture, installation, video, and performance. His works often incorporate multiple and contradictory values. This
ambiguousness shows, on the one hand, the artist’s alertness to and reflection on the various problems in art making today and, on the other hand, the solitude that he feels from being part of the system and his complex feelings confronted with vulgar reality.

The abstract paintings of Hyunjung Park show the process of a response to the new visual world we experience in the twenty-first century. The artist, who majored in Fine Art at Hongik University, has a long history of collecting images of minerals, geological formations, and textures. Since the attitude of collecting and consuming images online influences contemporary art, she is continuously asking concerns about the process of creating arts and she is using graphic technologies to construct the overall layer of her works. By using geometric colour schemes and disciplined brushstrokes, Hyunjung Park creates a new painting universe in which individual objects achieve a tight equilibrium through tension. 

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. 

I work primarily with oil paint, applying it with intention but disrupting it before it sets. While the paint is still wet, I smear it with a towel—blurring, lifting, softening. In these gestures, I relinquish control and make space for chance. Sometimes the towel removes an image I thought I needed. Other times, it leaves behind a trace more evocative than anything I could have deliberately created. The smearing becomes a collaboration between my hand, the material, and the moment.

Frédéric Bruly Bouabré was an Ivorian artist and philosopher best known for creating a unique visual language that combined drawings, symbols, and text to preserve Bété culture and share universal knowledge.

Ndayé Kouagou (1992) is an artist and performer based in Paris; his practice begins with text, which is expanded upon through performance, film, textiles, sculpture and installation. Kouagou manipulates the reduced language of aphorism and aesthetics on which the digital landscape of TikTok and Instagram is built, creating immersive environments that both confront and seduce the viewer. Using screens, plexiglass, resin and aluminium, Kouagou presents the viewer with elliptical statements and open-ended, existentially leading questions, simulating a meandering dialogue that borrows from the language of online influencers and self-help. Surface and depth, humour and sincerity, clarity and confusion are granted equivalent significance in Kouagou’s work as he playfully explores the forms and effects of mediated communication.

The Infinite Identities

In the Name of Progress

Astronaut

The Silent Gaze from Beyound

Wasteland

We Still Light the Candle

Space Cafe

Who Am I?

Parallel I

Parallel II

The Prophet

A World Of My Own

Homunculus

Notification On

Nothing out there

Between Metal and Memory

Cosmic Dreamer

Artificial Eden

Affection

Destiny

Freedom

promise

Salvation

I miss you, but let's hang in there

Belief

encore

i will be a star

rest

taste

Trees

Scene Composition

Clouds

Mountains

Jina Jeong 1

Landscape Elements

Two trees

Knock

The Never-ending Night

Door of Night

Take root

Crevice

What only the light can do

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)

Celebration

Initialization

Heaven’s Whisper on a Drowsy Afternoon

Seven Stars, A Crown, and Serendipity

Who I Am

Prayers in Silence

Reset Unfolded

Another Beginning

Result

Gentle Judgment

Beyond Miracles

Unexpected Delight

Where Ends Meet

Resetting Joy

One More Chance

ROUND 6

ROUND 7

ROUND 8

ROUND 9

ROUND 10

ROUND 11

ROUND 12

ROUND 13

ROUND 14

ROUND 15

ROUND 16

Self-portrait 1

Self-portrait 2

Self-portrait 3

Sisyphus

Teardrop Blossom

Testosterone 01

Testosterone 02

Yongbigyo Romance

People Who Make Me Sad

Mass

Masses

Flowers That Bloom in Summer

Dogs

Estrogen

Estrogen 02

Knockout 1

Knockout 2

Knockout 3

Knockout 4

Knockout 5

Nirvana

Rainy Season

ROUND 1

ROUND 2

ROUND 3

ROUND 4

ROUND 5

People Go Around

Bookshelf

Bench

Stool 01

Stool 02

Mirror

Sculpture

Untitled

How do we remember things

The bottom is Closed I'll sit alone I

The bottom is Closed I'll sit alone II

The bottom is Closed I'll sit alone III

Wall 1 Sinsa

Wall 3 Seongsu

Wall 2 Guro

Wall 4 Dongdaemun 1

Wall 5 Dongdaemun 2

Depth 1 깊이 1

Depth 2 깊이 2

trace 흔적 1

trace 흔적 2

trace 흔적 3

Residue 침전 1

Residue 침전 2

Residue 침전 3

sediment 2 축적 2

sediment 1 축적 1

afterimage 잔상

Pending 보류

Pieces2

Cloud Portrait 1

Cloud Portrait 2

Cloud Portrait 3

Cloud Portrait 4

Cloud Portrait 5

Cloud Portrait 6

Cloud Portrait 7

Cloud Portrait 9

Cloud portrait 10

Cloud Portrait 11

Cloud Portrait 12

Cloud Portrait 13

Cloud Portrait 14

Cloud Portrait 15

Flower Study 1

Flower Study 2

Flower Study 3

Flower Study 4

Flower Study 5

Flower Study 6

Flower Study 7

Flower 1

Flower 2

Flowers with Nishimura

Flowers 1

Flowers 2

Flowers 3

Flowers 4

Daytime Landscape

Paddy Fields and Swallows

The Way Back

Earth and Clouds

Nightscape

Nightscape2

Nightscape 3

Nightscape 4

Portrait of Mountains and Clouds 1

Portrait of Mountains and Clouds2

Portrait of Mountains and Clouds3

Portrait of Mountains and Clouds4

Portrait of Mountains and Clouds5

Portrait of Mountains and Clouds6

Portrait of Mountains and Clouds7

Birds and Clouds1

Birds and Clouds 2

A Found Flower1

A Found Flower2

A Scene Outside the Window

Sunset Landscape

0427 1830 1847

0501 1846 1907