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.

Wasinburee Supanichvoraparch, born in 1971, is a Thai artist based in Ratchaburi known for his innovative approach to ceramics, along with his work in photography, sculpture, and public art. A graduate in Fine Art with a ceramics major from Universitaet Gesamthochschule Kassel in Germany, he combines his expertise in traditional ceramic processes with a fascination for the uncontrollable elements that influence artistic outcomes. This theme of unpredictability, often portrayed with subtle humor and irony, runs throughout his diverse works, which challenge viewers’ perceptions of reality and the surreal. As the owner of Tao Hong Tai Ceramic Factory, Wasinburee’s practice is deeply connected to his family’s ceramic heritage, yet his contemporary approach has helped reshape Thailand’s ceramics scene.

Beyond his individual art, Wasinburee has had a lasting impact on the Thai art community. He founded d Kunst art center and launched Art Normal, Ratchaburi’s first public art event, promoting art accessibility and community engagement. His contributions have earned him prestigious awards, including the Wattanakunathorn Award and the Silpathorn Award for Design. His works are part of esteemed collections worldwide and have been exhibited internationally, including at the Venice Biennale, Singapore Art Museum, and Bangkok Art and Culture Centre. Wasinburee’s commitment to accessible, sustainable art continues to inspire Thailand’s art scene, positioning Ratchaburi as a vital cultural hub.

Hyundoo Jung gathers subjective conversational language by accumulating brushworks that show the physicality of the senses that arise from the inside. After graduating from the Department of Painting at Hongik University, the artist earned a master’s degree in the Department of Fine Arts at the Seoul National University of Science & Technology and was a resident artist at the Gyeonggi Creation Centre. His paintings reflect the trajectory and substance of the human body, while also being hospitable and evoking a distinct feeling. He repeats the process of his works by reacting intuitively to the colours and images formed by the improvisational movement and the state and concentration of the paint application on the canvas. The image of the stacked layers on the screen exposes a spectrum of colours and the artist’s sensual judgement. Hyundoo Jung also gradually makes the chroma heavier while adding a sense of density of colour. He treats the entire screen of his painitngs as a result of complete abstraction and sensation, as if it were directed from the surface to another kind of space. 

Ku, Ja-Young(1969) studied B.F.A and M.F.A Painting at Seoul National University and received MFA, New Forms at Pratt Institute in NY, USA. The artist has worked as a visiting artist at Brigham Young University in Utah in 2001, Afterward being at Art Omi International Artist’s Residency in Omi, New York in 2001, by establishing himself as an international artist. Ku was invited to numerous solo exhibitions and group exhibitions at prominent art museums and galleries in the world, including Witworth Art Gallery, Manchester, England; Arts Center Nabi, Korea; Carrillo Gil Museum, Mexico
City, Mexico and Krakow Triennial Print Exhibition, Krakow, Poland.

Alum Lee uses patterns commonly found in the fashion industry, such as dots, stripes, and checks, to move between flatness and illusion, distorting the screen, and revealing flatness through pictorial traces. Through this, she evokes latent data about space, deconstructing and recombining them once again, overlapping layers to produce complex processes of work.

Mira Park (b.1982) navigates the space between consciousness and the unconscious, constructing layered compositions grounded in black. Her works depict surreal combinations of humans, animals, plants, and objects—grotesque, unstable entities that seem to move independently within the frame. These forms suggest stories, yet deliberately resist any fixed narrative. Through recurring motifs like holes, doors, and windows, she blurs the boundary between the real and the virtual, hinting at the possibility of other dimensions. Horn-like forms—recalling tentacles, branches, or hands—suggest fluid mobility and a sense of continuous dimensional shift, pulling the viewer into the unknown.

The artist expresses what is difficult to put into words through drawings and writings. Her work is particularly inspired by the light of spring and summer, as well as books. Books, to her, are more than mere reading materials—they are both physical and intellectual mediums with a unique allure. Clear and tangible in hand, yet boundless in depth, books share a striking resemblance to paintings, a connection the artist continuously explores.
When faced with overwhelming moments or passing waves of solitude, she often finds solace in libraries and bookstores. In these spaces, where the energy of those who create books and those who seek them converges, the act of flipping through pages amidst unfamiliar crowds brings a quiet sense of comfort. Sometimes, without intention, she stumbles upon a sentence that feels as if it was meant just for her, experiencing a fleeting yet profound resonance. These moments are not grand revelations or life-altering epiphanies, but rather subtle, transient impressions—precisely because they are so brief and delicate, she seeks to hold onto them. Through light, color, and form, she translates these experiences into her art, inviting viewers to share in her quiet yet deeply felt reflections.

Wada Chizu liked to draw from an early age, but learned to draw by self-taught against her parents' 
opposition. She started serializing her paintings on the Internet in 2009, and made her debut as a cartoon artist in 2014. Since then, she has been actively working in various art scenes such as publications, exhibitions, and art fairs, expanding the scope of her creation through painting. 
The paintings contain a wide range of themes: humans and animals, me and the outside world, and 
relationships. In recent years, the artist has been focusing on acrylic canvas paintings, but before that, she used to draw manga and illustrations. In the new works presented in this exhibition, she again used the pen, which was the main medium of her work. To her, new works simultaneously mean a return to the roots of her work and an exploration of new styles. In the painting, ‘I’ wear animal clothes. Costumes are a way to protect herself in relationships and an act of allowing her true inner self. That place, different from reality, is another form of self-expression.

Zhu Peihong was born in Shanghai in 1987 and graduated from the printmaking department of Beijing’s Central Academy of Fine Arts in 2014 with a master’s degree.
The artist’s My Space series focuses on the dots, lines, and colour patches that flash in the picture in the process of creation as well as the traces left on the picture due to their convergence and dissolution. In this creative process, the strokes overlap and cover each other, and the paint slowly
drips and spreads, solidifies and stops, repeatedly until these fragmented traces, reaching an internal order, organically connect with each other and construct the conscious cyberspace perceived by the artist’s mind. The abstract dynamic air dome installation 'Space O' uses virtual reality technology to replace brushes with handles and canvas with the sky, releasing the magnificent colour energy existing in the universe. The artist combines art and technology to build a channel between virtuality and reality, connecting it with our world.

Sculptor, performer, photographer, architect, curator and blogger, he is known internationally for his provocative and political art. He is an opposition figure to the Chinese government and an emblem of freedom of expression in China, openly criticizing the Chinese government’s position on democracy and human rights. Ai was among the first generation of students to study abroad following China’s reform in 1980, and lived in the United States from 1981 to 1993, attending the Arts Students League of New York, the University of Pennsylvania and the University of California, Berkeley.

After extracting the narrative structure of various stories, the artist reconstructs the events and reproduces the images to seek discourse with contemporary narratives. By removing or reconstructing the direct object of the event, the artist attempts to emphasize the essence underlying the narrative to create a dialogue with the audience.

『Patchwork』 series presents the theme of ‘corporealization’ as the counterpart of ‘nation’ and ‘body’ as the constitution of the world. From the Frankenstein-like figure of the combined ragged giant to the cyborg combined with mechanical devices to assist the body, from the small screen to the large screen combined with multiple screens, the evolving or expanding life reflects the state of war of all against all: “Man’s selfish nature to protect himself inevitably shapes the form of a powerful force to realize it”. The main forms (and the result of various agreements) of the entries, such as replacement, substitution, assembly, combination, and expansion, are presented as a body and a state (the mortal god) formed in this state of struggle, and through the exhibition, they come together to form a world.

ROKKANKIM is a South Korea–based artist who presents works across a range of genres, primarily producing media works through collage and video compositing techniques.

Drawing inspiration from the social and cultural phenomena of the 1960s and 1970s, the artist combines these references with personal experiences to create surreal visual narratives. ROKKANKIM is particularly interested in duality—the coexistence of opposing qualities such as good and evil, positivity and negativity. His work invites viewers to experience each piece in their own way, much like how a single event or phenomenon can be interpreted differently depending on individual perspective.

His representative series include Space Oddity, which explores the dual nature of astronauts’ lives alongside the beauty and fear of outer space, and Sea the Wall, which examines the layered and often conflicting relationships between the sea, architecture, and humanity.

Ahn Soo-in’s work reflects sensations long experienced as a fragile human presence standing before nature—an existence governed by an exquisitely intricate cycle. Confronted with nature as a source of wonder and longing, the raw sense of inadequacy and quiet shame, along with the persistent desire to draw closer despite them, are carefully gathered and held within the pictorial space.

Leaving behind only the visible traces of nature, the artist reconstructs colour and texture into forms reminiscent of paper folding or modelling clay, revealing a tentative yearning to collect and preserve nature itself. This act of composition is not an attempt to faithfully replicate a complete form, but rather a metaphorical reflection on the posture of beings who live perpetually in states of incompletion—an exploration of longing directed toward wholeness.

REACH, born in 1981 and based in Kaohsiung, Taiwan, began his graffiti journey in 1995. He founded SOUL SKOOL, the first graffiti crew in Taiwan, and has worked with numerous internationally renowned brands. Early in his career, he actively participated in artist residencies and international art festivals in the US, Canada, France, Australia, the Netherlands, Japan, China and more. 


Tarntara earned her bachelor's degree in painting, sculpture, and graphic arts from Silpakorn University in 2014. Her art is stylized in a pop-surrealist style and presented with oil painting techniques. The softness of her brush strokes is a standout feature of her work, demonstrating high-level painting abilities. Her artwork is frequently influenced by her own intense emotions, childhood memories, dreams, and surreal fantasies. Tarntara is captivated by women's unique beauty, as well as Eastern culture and ideology expressed in a contemporary style.


Gungho - An artist with a collection of young collectors in the US, China, Taiwan, and Japan. He has incredible skill, working in a way that leaves no brushstrokes on the artwork.

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.

Day-Hour-Minute_3 hours 20 minutes

8:00 AM

Day-Hour-Minute_20 Hours 40 Minutes

Day-Hour-Minute_16 Hours 20 Minutes

Long-Distance Relationship_Wish You Were Here

Day-Hour-Minute_18 hours

Day-Hour-Minute_A Day

the ocean

March

April

June

Tic-Tac-Toe

8:00 PM

A Paradoxical Talk 1-2 

Birds, Trees, and

얼굴로 그린 그림 2

반짝 반짝

풍경

19.10.30-12.19

20.10.22-21.02.03

새나무

20.08.21-08.30

얼굴로 그린 그림 1

Untitled

얼굴로 그린 그림5

왼쪽으로-얼굴을 던지는 사람 1

빛나는 얼굴

돌머리

오른쪽으로-얼굴을 던지는 사람 1

19.06.27-20.02.19

Face of the Sun and Moon

19.08.10-12.19

토끼잡는 사람

19.10.30-20.01.02

Forest and Body_Mass

2018-19.12.06

Green Forest

Rock in Red

Walker

Blue Tree

Ginghamchck pattern

Dot pattern

Chasing Mouth Corners

A Stone’s Tomorrow

At the Edge of Sight

Books

A Gap in the Daylight

Crystal 2016–8

Crystal 2018–3

Growing 1031-1087

Ai Weiwei, Revue

Revolt

Brain Inflation

Zodiac Dragon

Reflection FO_25_3

Reflection RO_25_12

Reflection FO_25_2

Reflection RO_25_3

Reflection RO_25_15

F4.2 [Architectural Plan No. 2]

D1 [Blue Prison]

Patchwork golem

Competing heads-Hydra

Quieted head

Combined dragon

Space oddity 28

Light of space race 4

Light of space race 3

Light of space race 1

Ninja Turtles

Machines Of The Future

I Want A Burger

Break 03

Break 04

Break 02

Gate of the Mind

Cloud Girls

Where is the exit?

Together

crown leisure no.2

crown leisure no.3

crown leisure no.5

Discovery

Exhibitions

3D On View

About

KO
$

Discovery

Exhibitions

3D On View

Galleries

About

My Page

Featured Artists on Artue