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.

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.

Kim Hanna is a painter who has lived and worked in Busan since she graduated from the College of Fine Arts at Busan ​​National University. She has depicted the life and relationship between two characters, Hanna and Rabbit which the artist's internal world is reflected by.  

She has had many solo exhibitions, including Alternative Space Loop in 2006, Arario Gallery Beijing in 2007, Arario Gallery Seoul in 2008 and 2013, and Gana Art Gallery Busan in 2017. She also completed her solo exhibitions at Seoul Lotte Hotel & Resort Gallery in 2018, and Ecru in Busan in 2021. She had her first solo exhibition in Bangkok, Thailand in 2023.

She has tried to work with her wide span of creativity. She collaborated with Uniqlo, Shinsegae Department Store, etc. She also created the album cover work for Monthly Yoon Jong Shin. In 2022, she published a Poem book with drawings with the poet Park June. 

Kama was born in 1995, is a young artist living in Saigon. Most of his practice revolves around street art, especially Graffiti. In addition to developing personal projects, zKhoa is also a founder of the Wallovers (WO) team, which is a team of young artists have same orentation, , who want to bring street art to the masses in the near future.

zKhoa's interest revolves around inner interpretations and everyday life. His works are derived from everyday material, fragmented, brought to pieces and transformed into new forms in his own story.

Graffiti works by Kama tend to have bright colors, mixing personal voices, local stories and Asian spirit in the language of street art.

Bosco Sodi is an artist working globally, known for his densely textured paintings and objects with rich and vivid colors. His paintings are crystallized forms of arduous physical application; a constant cultivation of removing any hint of his own intent in the painting and populating the surface with the essence of material and fortuitous development. The artist works with the canvas laid down horizontally, applying a viscous mixture of soil, sawdust, glue and pigment to aggregate and then left to solidify over time. This process is a performance of sorts. That performance may last up to several months, with each accumulated strata of material testimony to the artist’s actions. Eventually, in that process, the layers cleft, and that is when the performance ends. From then on, all is left to time and nature’s forces. Cracks appear naturally on the surface and traces of material transforming from the material to the substrate to the whole of the artwork - a strikingly formal experiment in painting. Sodi’s works are included in various public and private collections, such as Ishikawa Prefectural Museum of Art, Kanazawa; Harvard Art Museums, MA; Museum of Contemporary Art, Antwerp; Museum Voorlinden, Wassenaar; and the National Gallery of Victoria, Melbourne.


Muchlis Fachri (Muklay) is a visual artist residing and working in Jakarta, Indonesia. Muklay received several awards including being named as one of Forbes Indonesia 30 under 30 (2020), 3rd place in Indonesia Art Awards (2015) and best artwork at Nalar Sensani Seni (2015) Galeri Nasional Indonesia. His solo exhibitions include Perplexity Relation at SH Artspace, Ginza, Tokyo (2020) and See Something Strange at Artotel Thamrin, Jakarta (2016). Muklay thinks collaboration is exciting because he get to meet new people.


Born in 1992, Jieun Choi majored Korean painting at Dongguk University and continued her studies at the National University of Arts in Karlsruhe. Currently, she is pursuing her artistic career in Germany. At the heart of her artistic expression is the creation of abstract images, skillfully capturing the transient and ephemeral qualities of the moment.

 

Choi seamlessly integrates the soft curves of her subjects with abstract backgrounds, crafting a unique visual narrative that places her characters within a distinctive and captivating realm. Through this, she delves into the intricate and nuanced aspects inherent in the linguistic and subtle nature of the human body. The artist pursues mysterious, intuitive, and sensorial expressions, skillfully capturing the inner narratives and psychological realms of her characters through the intricacies of their gaze and tension.

 

The artist's creative process navigates the delicate balance between abstraction and concreteness, cycling through phases of creation and destruction. She sculpts her narratives with unexpected forms and situations, elevating the tension and mystery of the characters through moments of anticipation and unwavering pursuit.

 

Choi endeavors to immerse viewers in an experience of intuition and empathy by infusing her characters' gestures and gazes with profound meaning. In doing so, she cherishes the exploration of boundaries between the unconscious and conscious realms, forging innovative narrative structures. Through this distinctive approach, Choi actively seeks profound engagement with the audience, persistently delving into the dynamic exchange of meaning and emotions within the realm of art.

Dong Hyuk Lee explores the spaces and objects that once reflected people’s beliefs and origins, but at some point were abandoned and have come to wither away. Lee imbues his experiences and memories onto various objects such as chairs, glasses, pianos, and crosses that have been left in ruins and paints landscapes and portraits that emerge from the stories he gathered on these objects. As such is his process, the space and objects he captures first reveal the artist’s beliefs and subjective rendering. On the other hand, Lee has experimented with and immersed himself in various compositional elements such as symbolic figures, signs, and colors in the pictorial dimension so that his work is not composed solely of the subjective. Continuing this artistic exploration, his recent works embody the act of “seeing” itself, which reflects the artist’s will to examine the multi-layered nuances of the operation of recognition and identification of the object’s significance within the methodology of painting.

Atom (b. 2000, Bangkok, Thailand) graduated with a Bachelor’s degree in Painting from the Faculty of Painting Sculpture and Graphic Arts at Silpakorn University in 2022. Atom’s work delves into the collective memory of historical events and explores the profound relationship between humans and nature. He believes in the interconnectedness of events and their enduring impact on society.

Atom presents reinterpretations of historical events within contemporary contexts through experimental painting. His work was prominently featured at 'Save Point' at Kinjai Contemporary in 2022, where he introduced new perspectives on historical narratives. Continuing his exploration, Atom has challenged conventional views of collective memory by placing historical events in new cultural frameworks, as showcased in the exhibitions 'AMBIVALOVE' at Alte Handelsschule and 'D.E.T' at Pilotenkeuche during his residency in Germany in 2023.

Duri Baek expresses the will to live through the light that illuminates the plants and the shadows behind them. The light that shines on the plants simultaneously creates the darkness of the shadows. The light and shadows that fall on the plants show their fierce determination and efforts to survive.The works in <Transition> are colored yellow for light and green for shadow. In the past, Baek's paintings have been characterized by the light and shadow of trees, poles, roots, and plants on rocks in the "빛의 자리","마중" , and "바위 위", but this time, the land, which is the basis of recovery, occupies a large area of the painting. <Transition> shows a green shadow falling on a neglected yellow ground, and tells the story of the beginning of life.


Chris Ro (b.1976) is a graphic designer and artist. His work can be characterized for their kinetic, spatial, poetic and atmospheric properties. Born in Seattle, Chris went on to study architecture at the University of California at Berkeley. After working as both architect and designer he went on to study graphic design at the Rhode Island School of Design. This mixed background continues to influence his explorations that fluctuate between both two and three dimensions. He is often at home when exploring concepts in motion and space and their relationship to the more static surfaces of graphic design. He recently finished research exploring concepts in Korean space at Seoul National University.
His work has been exhibited all over the world and is part of the permanent collections of the Victoria and Albert Museum, Musée des Arts Décoratifs, Die Neue Sammlung, the Seoul National University Museum of Art, Hongik University Museum of Art, Platform-L Contemporary Art Center and the National Hangeul Museum.

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.

Rimm Chae uses ottchil (Korean lacquer) to jump back and forth between past and present as well as East and West as she creates a powerful visual expression of the marvelous journey of nature. At Art Miami, held from November 29 to December 4, Chae presents a monumental work entitled Mountain and Island, her artistic interpretation of ideological colors and saekdong (traditional multi-colored stripes) that reflects a distinctly Korean sentiment.

Studio Lenca (José Campos) fled his native El Salvador during the violent civil war in the 1980s. The war claimed the lives of over 80,000 Salvadoreños and displaced much of the population. José travelled to the US by land with his mother and grew up as an undocumented illegal immigrant.

Eventually settling in the UK, José received a Masters from Goldsmiths University of London in 2019. His work is collected and exhibited globally and was recently acquired by the MER Foundation.

His work is focuses on ideas surrounding difference, knowledge and visibility. José Campos works under the name of ‘Studio Lenca’ as the language of ‘studio’ refers to a space for experimentation and a place that is constantly shifting. Lenca refers to the ancestors of his native El Salvador.

His colourful paintings depict Salvadoran figures adorned with costume and ornament that playfully explore masculinity, the colonial past of the country and its current violent discourse. The hats and costumes allude to the folkloric traditions of Los Historiantes. MS-13 markings and 18th street tattoos are absent, instead whimsical imagery and bold colours portray a softer more vulnerable experience.

The figures in Studio Lenca’s work embody vignettes of the artist’s formative years, escaping the civil war and reckoning with his reality in a hostile environment.
The navigation of identity within Studio Lenca’s work sits in parallel with that of El Salvador and it’s neighbouring countries. Riotous layers of paint, flora, fauna, logos and artefacts represent untold stories and silenced voices. The painful legacy of colonialism, mass immigration and more recent cultural imperialism is writ large. Studio Lenca shares a maelstrom of unresolved narratives; himself and his culture displaced.

Hyuck Jin Oh (b.1997) is a rising Korean artist whose work delves into the emotional complexity of the human experience. His distinctive approach to mixed media combines different materials with traditional pigments, creating textured, layered compositions that convey the emotional depth and warmth of life’s spectrum. Oh's art explores themes of healing, transformation, and inner balance, reflecting both the turmoil and tranquility that shape the human condition. Through his work, he captures moments of emotional struggle while offering a sense of peace—emphasizing that even in times of hardship, there is potential for personal growth and renewal.

In addition to his fine art practice, Oh actively collaborates with the music and media industries, contributing his visual work to album covers, films, and dramas. This interdisciplinary approach expands his creative reach, deepening his exploration of emotional landscapes. His exhibition in Bangkok marked an important step in his growing international presence, further establishing his unique voice in the global art scene. Through his art, Oh invites viewers to reflect on their own emotional journeys, offering a message of hope and transformation—that by confronting and overcoming adversity, one can make positive memories shine even brighter.

Jeroz illustrates the romance that dwells within the urban coldness. In a story-like circumstance, the character's sunglasses conceal their eyes and their moustaches cover their mouths, allowing the audience to infer and assume the facial emotions of people with unknown faces as situations in work. The strong saturation and contrast of the dark night reflect the location's temperature, and each moving animation piece contributes to the work's amusement. The introduction of the work is written as an excerpt from a novel, offering the audience the opportunity to explore the content before and after it. The artist hopes that the universe shown in the painting is a world that is both cool and romantic, and in which the viewer lives fiercely. 

The narrative in literature, as a distinctive discourse system, is based on real life. Through logical coherence, description, lyricism, and interpretation, it creates a distance between fiction and objective reality. The creative inspiration for this exhibition's works originates from Yan Jingzhou's journey to the UK. However, the imagery of British elements goes beyond regional characteristics. Much like accomplished science fiction writers and film directors, Yan Jingzhou, through the creation of an alternative world, brings to light historical or contemporary truths that often elude conventional narratives.
Yan Jingzhou's creations are consistently rich with imagination. His unique perspective, akin to a distorted mirror, reflects an apparently similar yet exaggerated infinite world within the confines of a finite frame. In the town of "Buster" in the fictional world constructed by Yan Jingzhou, most characters still possess the classic characteristics of the "Old Buster." The difference lies in Yan Jingzhou's artistic iteration, expanding from a focus on specific character images to a more extensive depiction of various domains through the technique of fictional narrative. One could say that Buster permeates every nook and cranny of the town. Essentially, Buster and the town can be situated in any corner of the world.
In the construction and portrayal of scenes, Yan Jingzhou exhibits a more precise and vivid mastery. He skillfully intertwines reality and imagination through metaphorical techniques, reflecting the authenticity of life and reconstructing a colorful world. In the town of Buster, seemingly ordinary scenes reflect the humorous aspects of everyday life. The simple tone both highlights the charm of the characters and contrasts with the bitterness of life.  The narratives within the town can unfold in diverse directions, accommodating individuals of varying identities and colors. The plot may feature straightforward actions or embrace a diverse amalgamation of characters and settings, transitioning from a semi-realistic portrayal to a novel aesthetic creation and narrative expression.
In front of the green dessert shop in the West district, a police officer holding doughnuts in both hands unexpectedly locks eyes with a thief who, in disguise, is attempting to slip away. At a bar in the North district's nightlife scene, a bartender with a face covered in mayonnaise casts a sidelong glance at a drunken patron lying down. The youngster peddling chewing gum on the diagonal street in the West district during the day morphs into a playful ghost reveling in the East district at night. Around a long table, individuals of different skin tones, each with a distinct expression, gaze at the baked beans held by the first person. In a fast-food restaurant, two adults are distributing three kinds of condiments to seven children, and so forth. Countless stories are unfolding in the town—upper and lower districts, the sky, dinner parties, exams, str

The artist's work invites us to pause from our busy lives and direct our attention to the whispers within our hearts. This is likely because her work, even though it is full of the small and ordinary things of life, evokes a dreamy and free-spirited feeling reminiscent of childhood memories filled with all sorts of imaginations. Furthermore, the clumsy and unadorned appearance, reminiscent of a child's, also captures attention. These rough but heartfelt feelings seem to make the entire work soft and warm. The screen is full of childlike freedom, unspoiled purity, and honesty. As if following the old saying that great skill is rather clumsy, the artist's work transcends the confines of skill and style and freely conveys the artist's heart as it is.(Min Byung-jik, Curator)

Seungwon Yang majored in photography at Seoul Institute of the Arts and received her master's degree in fine arts from Chelsea College of Arts, University of the Arts London. He creates pseudo-images that blur the boundaries between reality and fabrication using digital images, exploring the possibilities of extending the field of epistemology and photography. He is currently working on revealing hidden aspects of contemporary society, disrupting the taken-for-granted process of perception, and the process of recognizing situations or landscapes that individuals face in modern society. He also captures the heterogeneity created at the intersection of reality and fiction in an expanded concept. He questions the landscapes of harsh reality resulting from a superficial understanding of regions and places, and the differences in materiality visible in the gap between nature and imitation. He has held solo exhibitions at various venues, including N/A (2022), Seoul Museum of Art SeMA Storage (2021), Hite Collection (2019), and SongEun ArtCube (2018).

Darkness Hunts Me, #1

Sun Taunt You, Close Your Weary Eyes

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Darkness Hunts Me, #2

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Darkness Hunts Me, #4

Washington, D.C.

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Bathing Overtime on Holiday

The Good Rabbit

Routine

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Ghost Cat

Blue Bird

BS 41048

BS 3535

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