Like a pop star, Artist Noemie Bablet intentionally pushes the boundaries between industry and art. Much like our society’s positive bias, Bablet’s work impresses far beyond its initial impression of charm and effortlessness, demonstrating impressive delicacy and meticulousness to convey a sense of beauty and elegance.

Kittisak Thapkoa was born in 1989. He graduated from faculty of fine arts, Silpakorn University. He expresses the story in terms of realization and awareness of morality. Buddhism is the religion that teaches humans to be able to perceive the truth of the world. Humans cannot get away from birth, aging, suffering and death. 

He has participated in group exhibitions both in Thailand and abroad(USA). He even received the art awards from Toshiba “Brings good things to life” art competition in 2005, 2007 and 2011. The second award National arts by Bangkok bank and the winner of Bualuang 101 art contest in 2012. Moreover he is accepted from global collectors, Art state Singapore in 2016, Art state Jakarta in 2017, and Art expo Malaysia in 2018.

Ryle Russel's works are inspired by popular science fiction references such as brain radiostatic surgery, the song Gamma Knife by King Lizard and the Gizzard Wizard.

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.

My faint light bent in a wavering arc. Swaying with unease and fragility, I barely traced a dim glimmer. I moved toward the light—clear in aim, but lost in direction. I gradually developed a sense for detecting and escaping the abyss of despair and the weight of its repeating patterns. Each crisis sharpened my acuity. I responded finely, moved in subtle steps. What may seem like reckless intuition was swift judgment, honed by time. The hours carved into my heart fed my intuition, nurtured my sensitivity. I evolved, bracing for the next trial. Sensitivity became my chosen trait— a way to survive, a skill to catch even the faintest light. I twisted, reached, and stretched as far as I could. Through the ground, into the sky. I bask in everything. /Text. DuRi Baek

oo Young Choi(b.1993, Korea) works from a place of deep agony over the notion that ideas branching out from the root of the “I” must inevitably exist in the context of relationships with the other. Choi expresses this idea as a faceless “black dot,” a character that represents the artist’s thoughts — along with those of many others in modern society. Containing both the stability of belonging that comes from a uniting, intertwining crowd as well as the unavoidable sense of isolation that occurs in any relationship, the duality of the “black dot” is sure to strike a chord with anyone living in the present era. Individual yet multiple, unfamiliar yet comforting, the “black dot” speaks to us all.

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. 

Jinjoo Ku is a painter who captures the recurring patterns of nature and the shifting processes of emotion on canvas, exploring through two bodies of work the point at which phenomena of vastly different scales converge on a single underlying principle.

Slow Diffusion draws on the chemistry of recrystallization, in which pure crystals are gradually separated from an impure substance, extending this as a metaphor for the purification of emotion. A longtime observer of the sea, Ku turns toward the moments when cold and fearful feelings begin to seep in, rendering through stillness and a recalibration of inner temperature the crystallization that unfolds within. Fractus expands this gaze to the macroscopic structures of nature, translating the fractal self-similarity found in the branching of trees, the coursing of rivers, the layered edges of clouds and the contours of mountain ranges into a metaphor for the complex networks of life and human connection, as the artist attends to the way individual moments weave tightly together to complete a single coherent narrative.

Running through both series is the belief that instability and stability, disorder and order, ultimately complete each other within a single cycle. Through painting, Ku reveals that the crystallization of emotion and the fractals of nature, though seemingly operating at entirely different scales, are governed by the same principle, inviting viewers to reflect on the repetitions and connections woven through their own lives.

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.

Thai contemporary artist residing in New York City, Berlin, and Chiangmai, Thailand.[2] He was born in Buenos Aires, Argentina in 1961. His installations often take the form of stages or rooms for sharing meals, cooking, reading or playing music; architecture or structures for living and socializing are a core element in his work.

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.

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.

The overarching theme of JIYOUNG LEE's work is the "Human Zoo." The term is inspired by zoos, depicting facets of human life where individuals, like animals in a zoo, lose their instincts and live predetermined lives shaped by societal expectations. The black ink wash surrounding the "Human Zoo" represents artificial rocks in the zoo, symbolizing societal norms, laws, and universal conventions desired by society. While seemingly protective, these elements also confine human nature. Through her art, JIYOUNG LEE aims to portray the individuality, homogenization, desires and confusion within this enclosed space, prompting reflection on the choices individuals make in navigating their lives within these confines.

Su Xiaobai, one of China’s most distinctive painters, was born in 1949 in Wuhan, Hubei province, China. 
Su Xiaobai has developed a sensuous yet rigorous art that defies classification, and yet whose own chosen medium, lacquer, is steeped in Chinese history. Su’s works are both hedonistic and mystical, defiantly sculptural while exquisitely painted. Ranging from shell-like finishes to sensuous, curved profiles and abraded textures, they exist entirely on their own terms, possessing their own history, character, and independent existence. Rather than depict other objects, his art engages with the
idea of being itself. At its centre, Su’s work uses the visual language and context of art to embody issues that are both philosophical and, at an everyday human level, universal.

KANG Cheolgyu (b.1990) depicts narratives of a fictional world with a realistic touch. The mysterious otherworld within his canvas is a landscape that metaphorically projects his own reality. People and animals in exotic nature, symbolic events, each are closely related to his emotions and psyche. The black sphere that appears in Enemy (2023) represents a physical manifestation of complex emotions that are difficult to handle, such as anxiety, compulsion, expectation, delusion, disappointment, and depression. The artist's reality is sometimes perceived as overwhelmingly helpless, like the Big One (2023), which remains unflinching even when struck by a decisive spear. In Hunting Diary (2023), a figure who prepares raw meat from the wild for survival is depicted as an incompletely segmented body or self-divided into several people.




KANG Cheolgyu was born in Gimcheon, Korea in 1990. He received his BFA in Painting and MFA in Fine Arts from Hannam University. He has held solo exhibitions at Chapter II (Seoul, Korea, 2022), M2 Project-room at Lee Ungno Museum (Daejeon, Korea, 2021), Artist Residency TEMI (Daejeon, Korea, 2020), Gallery Gabi (Seoul, Korea, 2017) and more. He has participated in group exhibitions at ARARIO GALLERY SEOUL (Seoul, Korea, 2024), Doonamjae Art Center (Seoul, Korea, 2023), Gallery Baton (Seoul, Korea, 2022), Daejeon Museum of Art (Daejeon, Korea, 2021; 2018), Galley Gabi (Seoul, Korea, 2017), Gallery Gwang, Sejong Center (Seoul, Korea, 2015) and more. He was the artist-in-residence at the Artist Residency TEMI (Daejeon, Korea) in 2020 and the Studio White Block (Cheonan, Korea) in 2023. His works are collected by institutions such as Seoul Museum of Art, National Museum of Modern and Contemporary Art’s Art Bank, Daejeon Museum of Art.

Lucio Fontana was an Argentine-Italian artist known as the founder of Spatialism. The movement focused on the spatial qualities of sculpture and paintings with the goal of breaking through the two-dimensionality of the traditional picture plane. He was best known for his monochrome canvases known as Concetti Spaziale that he would cut or puncture, leaving distinctive gaping slash marks and holes that imbued the finished work with an almost violent energy. In his seminal writing, White Manifesto (1946), the artist traced ideas for creating a new medium that blended architecture, painting, and sculpture.

Ping Hatta (b. 1990), is an artist whose work explores the intersection of strength and softness within femininity. Inspired by personal narratives, nature, and everyday moments, she paints vibrant, surreal portraits that capture the nuances of womanhood—both its resilience and vulnerability.

Pawarisa wangkhomfu was born and raised in Phayao. She graduated with a bachelor’s degree from the faculty of painting, sculpture and printing, Silpakorn University. She had participated in Portrait Prize exhibition in 2023 and Being human exhibition in 2019. Moreover she had participated in Art Busan, an international stage in 2024. She has solo exhibition “Younger Dryas” in 2023 and "Human Behaviour" in 2024.

During this time he worked under filmmakers Paul Sharits and Hollis Frampton who introduced him to structural filmmaking and Sergei Eisenstein’s films. In 1974, while at Buffalo, he co-founded, with Charles Clough, the exhibition space Hallwalls, organizing shows with Vito Acconci, John Baldessari, Lynda Benglis, Robert Irwin, Joan Jonas, Bruce Nauman, and Richard Serra, and establishing relationships that proved seminal to his development. It was at this time that his life-long friendship with Cindy Sherman began. Longo is best known for Men in the Cities, his critically acclaimed, larger-than-life, photorealistic drawings of contorted figures, done from 1977 to 1983. Using charcoal, graphite and ink, this monochrome series depicting the reactive movements of businessmen and women in static suspension became icons of 1980s art. Longo has had retrospective exhibitions at the Hamburger Kunstverein, the Menil Collection in Houston and the Isetan Museum of Art in Tokyo, and his work has been exhibited in the Whitney Museum Biennial in New York, documenta in Kassel and the Venice Biennial, among others. He is represented in the collections of the Art Institute of Chicago, the British Museum, London; the Centre Georges Pompidou, Paris; the Guggenheim Museum, NY; the Los Angeles County Museum of Art, CA; the Menil Collection, Houston, the Museum of Modern Art, NY; the Stedelijk Museum, Amsterdam, the Tate Gallery, London, and the Whitney Museum of American Art, NY among many others. He lives and works in New York.

Bang Soyun's art begins with disrupting the hierarchy between the digital and physical worlds. Considering that the things existing in the digital world and the states they form are generally defined by the term 'virtual reality,' it may seem as though the physical world holds superiority in terms of reality. However, as a digital native, Bang freely navigates between the digital and physical worlds, accepting experiences in both realms as equivalent realities. Various experiences intertwine and influence each other, constantly shaping the artist's identity.

Focusing on sensorial experiences where the distinction between reality and virtuality fades away, Bang creates virtual digital entities and brings them into physical reality through her work. Initially, she implemented simple forms of animals, plants, or objects, but recently, she has been exploring concrete human figures as sensory receptor perceiving the world.

Her works exist in various material or immaterial forms such as paintings, videos, and even augmented reality (AR). Through 3D modeling software, she visualizes different independent narratives and reproduces them in various ways into multiple forms. In her painting, the most crucial factor is the physical properties of materials and the profound experience of her body dealing with those materials. In 3D programs, Bang imitates everyday reality while enhancing an alienating sensation by distorting and rearranging the properties of material experienced in physical reality. During the process of translating these digitally generated images into paintings, she employs optimized materials and techniques to maximize surrealism, rendering them as highly tangible objects. Throughout this process, the artist sensitively senses and observes her own body's interaction with the materials, which makes herself undergo continuous evolution.

When reproducing these digitally generated images in paintings, she uses optimized materials and techniques to implement unreal characteristics into physical sensations and forms, delicately sensing and observing the body handling the materials throughout the process.

Sujeon Mae’s paintings begin with small, everyday events, such as moments spent with a friend or a fallen leaf discovered by chance on the street.
For the artist, these experiences are not subjects to be simply reproduced, but seeds of images that are transformed and reconstructed through memory and emotion.
Rather than the experience itself, she focuses on the feelings, desires, and memories through which she looks back on that moment from the present.
After completing a painting, the artist sands away parts or the entirety of the surface, removing color and obscuring forms while revealing traces from earlier layers.
Drawing and erasing thus become part of the same process of creating an image.
Because the outcome of sanding cannot be fully controlled, the artist observes the traces that emerge by chance and sometimes redraws them as light.
These revealed traces extend beyond memories of the past toward a sense of time that has yet to come.
The light becomes a desire and a possibility—a quiet hope for the next scene, even while accepting that life may flow in an unknown direction.
Her paintings hold layers of time in which images are drawn, erased, revealed, and drawn again, moving from small moments of everyday life toward the light of an unwritten future.

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.

Artists