A portrait is a depiction of a specific individual, which became an established style of painting during the Renaissance. Since then, many artists have created portraits with a wide variety of themes. Some portraits have pursued realism while others have emphasized the beauty or exaggerated the ugliness of their subjects. In the past, the creation of a portrait typically required the artist and subject to be face-to-face, but in Portrait of dazzle, neither the artist nor the subject know who the other is (and in this case, the subject is not even aware that they are a subject of a portrait). In this series, portraits of the modern person are created from the countless photos of faces posted online by tracing and projecting the eyes onto a dazzle camouflaged silhouette of a person whose race, sex, hairstyle, or body shape differs from that of the original subject.
	By using photographs of real people, Portrait of dazzleencourages viewers to consider that the eyes depicted may belong to people they know or even themselves and brings to attention growing social issues like digital tattoos, deepfakes, and generative AI.

	Dazzle camouflage was a type of ship camouflage used during World War I. As its name suggests, it was meant to dazzle and confuse the human eye. In an era where radar technology did not exist, an enemy vessel’s range and heading needed to be visually identified for targeting. The complex black and white patterns painted on ships with dazzle camouflage reportedly made it difficult to ascertain the target's distance and direction of movement and hindered the calculation of accurate firing solutions. Because dazzle camouflage is such an apt metaphor for the confusion caused by the uncertain veracity of information online, it is a frequent motif in my work. 

 / Artist Shigeki Matsuyama

Portrait of dazzle #279

Through both figurative and abstract interpretations, Seonggwang Yun (b.1999) invites us to confront our instincts and primal emotions. The air spray and physical brushstrokes of the monsters in his works aggrandize their expressions and visualize the tension between the suppression and release of emotions. For Yun, the monsters embody the suppression of emotions and function as a medium to project the viewer's memories and emotions. Going beyond language, the artist focuses on non-verbal communication such as facial expressions and gestures. The clothes worn by the monsters actively reflect the artist's taste as demonstrated by the various hats. These devices conceal their faces while reinforcing their presence—condensing mechanisms of modern culture.


ROY GALLERY

Oh... haha

Staying at the Oharano Studio residency in Kyoto, Japan, the artist presents works that condense the sensations of observing nature at specific moments into the form of a “portrait.”
A “portrait” is not merely a depiction of outward appearance, but an act of capturing the expression and emotion a being reveals at a particular point in time. Jang Geon-yul’s new works expand this traditional notion of portraiture to natural elements—clouds, flowers, and trees—gazing upon and recording their fleeting presence as if tracing a human life. In doing so, the artist renders the cycles of disappearance and emergence in nature as portraits of vanishing existence.

Gallery Kabinett

Cloud Portrait 9

Staying at the Oharano Studio residency in Kyoto, Japan, the artist presents works that condense the sensations of observing nature at specific moments into the form of a “portrait.”
A “portrait” is not merely a depiction of outward appearance, but an act of capturing the expression and emotion a being reveals at a particular point in time. Jang Geon-yul’s new works expand this traditional notion of portraiture to natural elements—clouds, flowers, and trees—gazing upon and recording their fleeting presence as if tracing a human life. In doing so, the artist renders the cycles of disappearance and emergence in nature as portraits of vanishing existence.


Flower Study 5

This limited edition by Philippe Parreno is a unique object consisting of a custom-made plexiglass box, a special, clothbound edition of the Revue and its accompanying booklet and a double-sided print of Parreno’s Iceman (2020), 2023, in two stages.

Cahiers d'Art

Philippe Parreno, Limited edition including original artwork

“I examine the existent uncertainty belying this world and aim to affirm this palpable instability of human nature and existence. My paintings express such sentiments through metaphors of the city, sky, universe, or even as a courtship of dancing peacock spiders. In other instances, they are drawn as straight lines and curves. Today‘s drawing become materials for the next—paving a path to follow. The moment I sense it, it exists as a backdrop, a guide. In the end, it is the measuring of the immeasurable, the longing for the unrevealable that remains true even if only for a moment. It is through this process that I present abstraction and attempt to expand the senses.” - Hyunmo Yang


Flexible Forms 12.03

Luke Park creates a new beauty through the aesthetics of imperfection and minimal expression on an empty canvas (x4)

Artue - Korea

Seasons (Series of 4)

Suzy Yoo explores the connection between people and nature through diary-like works that gently reflect everyday experiences. Blending memory and sensation, she captures shifting forms and asks fundamental questions like: How should we live? and Where are we headed?

OBJECTHOOD

Greenly

Passionate about prints, Lee Ufan had, for many years, the desire to succeed in creating an extremely long etching. He wanted to push horizontality to its limits. It was at Michael Woolworth’s studio that he was able to realize this dream. Confronting himself, with all his physical strength, to the hardness of the steel plates and the vastness of their length, he created two different works as two ways to explore an infinite trajectory. Together an artistic, physical and technical feat, these impressive etchings are the result of a very intense cooperation between the artist and the entire workshop team.

Untitled (II)

Born in 1990, Sungju Ham is currently one of the most prominent artists in the field of Korean realism. His vision of "new realist painting" begins with the imagery of objects captured digitally by a camera, rather than existing in the viewer's mind. Through this communication, the artist's paintings are rendered more three- dimensional than reality, and the subject matter within them and the viewer's perspective provide a platform for commentary and interpretation of the image. This is the concept Sungju Ham

THEO

Tour 02

Artist Yerim Choi discusses ‘eye-catching objects.’ The artist’s glaze addresses the moment, and each moment signifies a moment that passes by unintentionally. The “A seedless watermelon, thornless cactus” is a work that records the nature that the artist faces in her daily life. Through the contradictory name of the work, it expresses a cactus without spines, and the artist looks at the greenery she faces in her everyday life with a warm gaze. Through works containing the artist’s eye-catching objects, she attempts to communicate and convey warmth to the audience. 

A seedless watermelon, thornless cactus

오토니엘에게 꽃은 자연의 경이로움을 넘어 살아있음을 일깨우는 매개체입니다. 꽃의 의미와 상징을 반영해 세상을 새롭게 바라보는 통로로 삼는 그의 작업은 많은 이들의 공감과 사랑을 받아 왔습니다. 아투에서 만나는 “더 문 로즈(The Moon Rose)”는 2019년, 파리 루브르박물관이 영구 소장을 결정한 그의 회화 연작 〈루브르의 장미〉를 모티브로 해 그 의미를 더합니다. 순수하고 영원한 사랑, 그 꽃말처럼 자신의 정열을 만개하는 장미는 보름달 모양 거울에 담겨 서정적인 분위기를 자아냅니다.

For Jean-Michel Othoniel, flowers are not just natural wonders but also mediums awakening the essence of life. His work, which reflects the meanings and symbols of flowers, offers a fresh perspective on the world and has garnered widespread empathy and love. "The Moon Rose" at Artue is inspired by his series "La Rose du Louvre," a collection permanently housed at the Louvre Museum since 2019, adding depth to its significance. It captures the essence of pure and eternal love, symbolized by the rose in full bloom, set against the backdrop of a full-moon-shaped mirror, creating a poetic harmony.

The Moon Rose

I read a column written by a Korean newspaper journalist. In it, he shared a reflection from his travels in the Middle East. While there, he was suddenly reminded of a novel that had left a deep impression on him in his youth. On impulse, he stepped into a shop and purchased a carpet. Instead of laying it on the floor, he brought it home and hung it on the wall as a piece of decoration.

During that time, I was struggling with my own work. I didn’t know what kind of paintings I should create. Some pieces came easily, but others didn’t. I stared at the discarded canvas and paint, trying to figure out what the problem was, but I only felt overwhelmed and directionless. Then, I was given a chance to look deeply into myself. A few events—both large and small—prompted that moment. I revisited old memories I had passed by without much thought. I flipped through old photo albums, selecting images that struck me in a new way. I also read the novel that had inspired the journalist.

In the novel, the carpet was a gift from an aging poet, given in response to the protagonist’s question: “What is life?” It was only after experiencing the many burdens of life that the protagonist came to understand its meaning. The carpet, in essence, affirms the purposelessness of life. Just as the weaver created the carpet solely to satisfy their own sense of beauty—with no other intention—life, too, doesn’t require us to cling to every incident or outcome. What matters is recognizing that a pattern is slowly and quietly taking shape.

As I reflected on the novel, I felt a deep sense of calm. Just like the weaver crafting a carpet, and like the journalist who chose to hang it on the wall instead of laying it on the floor, I began to fix unstretched fabric directly onto the wall, brushing its surface with short, dry strokes reminiscent of the warp threads of a carpet. This approach felt natural to me. As I focused on the rough, scraping sensation of the brush, the painting gradually began to reveal its own pattern.

GALLERY IN, located in Yeonhui-dong, Seodaemun-gu, is a space dedicated to making Contemporary Art easily accessible and friendly to the public. We aim to introduce artists, both domestic and international, fostering communication with art lovers through various exhibitions. GALLERY IN annually showcases an exhibition featuring Japanese craft artists. We have plans to create various projects beyond crafts in the future.

GALLERY IN

Mountain_1

“18!Practice” is an artwork that reorders the placement of two plates of differing sizes on canvas and inverts the pictures of plate 1 and plate 2. With these techniques, the artist creates an entirely new image by rearranging the layers in a different order, even though the layers themselves remain the same. The artist raises questions regarding the function of painting between image and substance. By painting, she uses various approaches to portray the axis of time. Throughout the work, it leaves clues to infer the time axis or builds a dependent structure that paints layers impact one other to generate visual interpretation. 

아투(Artue)는 동시대 예술 현장의 역동성을 자양분으로 삼은 역량 있는 예술가들의 작품을 엄선하여 생동감 넘치는 미술의 본질을 세계에 알리는 데 헌신하고 있습니다. 예술가들을 위한 플랫폼 구축은 갤러리, 컬렉터 및 미술 애호가들을 연결해 지리적, 물리적 경계를 넘어선 총체적 경험을 제공하려는 아투의 핵심 미션과 연결됩니다. 아투를 통해 매력적인 미술의 세계를 발견하고 그 어디에서도 만날 수 없는 기회를 경험해 보시기 바랍니다. 

Artue is dedicated to bringing the vibrant essence of art to the world stage, presenting a curated selection of works by talented artists who embody dynamic contemporary scenes. By creating a platform for these artists, we foster connections among galleries, collectors, and art enthusiasts, offering an immersive experience that transcends geographical boundaries. Discover the captivating world of contemporary art through Artue and unlock unparalleled opportunities for growth, exposure, and success. Join us in celebrating the diverse and remarkable contributions of artists to the global art community.

18!practice

The title 'Overwrite' signifies a recording method where new information is superimposed over existing data, resulting in the loss of the original information. Seungwon Yang continues his work of reproducing the confusing process of perception that one can experience between reality and fiction, using directly photographed or created digital images. He has captured places beyond easy human reach, like cosmic surfaces, glaciers, vast tidal flats, and rocky mountains, in a 3D virtual space he modeled himself, presenting works that delve even deeper into the dimension of perception. Unlike scenes from fast-moving mass media that obstruct the full appreciation of nature, his still images capture the intricate details of the subjects in their entirety.

Overwrite #24

In her “Seascapes” and “Constellation” series, Kang explores the relationship between the terrestrial and the celestial, addressing themes of transformation, memory, and the passage of time. In the “Seascapes”, water functions both as a symbol and a subject, capturing the ever-changing flow of nature. By combining photographs from various seas with found imagery, Kang creates composite landscapes that transcend specific locations, evoking a universal, timeless sea. In the “Constellation” series, Kang reimagines the night sky as a dynamic canvas, where stars form sculptural constellations that merge mythological and personal narratives. By grounding these constellations in the earthly realm, she imbues them with personal memory, linking the celestial to the present.

"Objecthood" is a concept that emerged from minimalism, often translated as "objecthood" or "materiality." It aims to strip objects of unnecessary elements, focusing on the essence of the object and the inherent properties of the material, to present works that are non-imitative and non-representational.

Based in Busan, Objecthood Gallery seeks to introduce the artistic worlds of emerging domestic and international artists who understand and interpret this pure concept of objecthood. The gallery also serves as a new platform to offer moments of relaxation and leisure in our modern lives.


Wave: Pleiades

As I pile up my work and mash it into canvas, I feel transported to a chance encounter—a fateful moment suspended within the canvas. I approach art not as a methodical process, but as a series of intuitive accidents. Each mark becomes a trace of something unplanned, yet somehow inevitable.

Still Table

Tang Contemporary Art was established in 1997 in Bangkok, later establishing galleries in Beijing and most recently Hong Kong. Tang Contemporary Art is fully committed to producing critical projects and exhibitions to promote Contemporary Chinese art regionally and worldwide, and encourage a dynamic exchange between Chinese artists and those abroad.   Acting as one of the most progressive and critically driven exhibition spaces in China, the gallery strives to initiate dialogue between artists, curators, collectors and institutions working both locally and internationally. A roster of groundbreaking exhibitions has earned Tang Contemporary Art internationally renowned recognition, establishing its status as a pioneer of the contemporary art scene in Asia. Tang Contemporary Art represents leading figures in Chinese art including Ai Weiwei, Huang Yong Ping, Shen Yuan, Wang Du, Liu Xiaodong, Yang Jiechang, Xia Xiaowan, Sun Yuan & Peng Yu, Yan Lei, Wang Yin, Guo Wei, Ling Jian, Chen Wenbo, Zheng Guogu, Michael Lin, Lin Yilin, Zhuang Hui, He An, Zhao Zhao, Wang Yuyang, Weng Fen, Yang Yong, Xu Hualing, Xu Qu, Xu Xiaoguo, Ji Zhou and Cai Lei, additionally collaborating with international artists such as Rirkrit Tiravanija, Navin Rawanchaikul, Sakarin Krue-on and Preeyachanok Ketsuwan.

Tang Contemporary Art

The Last Dance

Shigeki Matsuyama is a Japanese contemporary artist. His work was shaped by his early career as an illustrator and his philosophical reflections following the 2011 Great East Japan Earthquake. He has since pursued a more conceptual art practice, reinterpreting through his work the impact of modern society's consumerism, pop culture, media, and technology on the human experience. His works provide visual play through the use of repetitive patterns and intense colors, and he is expanding his artistic expression through various media,
including not only painting but also objects and installations.

Through both figurative and abstract interpretations, Seonggwang Yun (b.1999) invites us to confront our instincts and primal emotions. His “monsters” embody human repression and mirrors the viewer’s memories and psychological states through anguished or vacant gazes. 

Yun’s first solo exhibition was with ROY GALLERY (2025). He has further participated in group exhibitions at Lotte Gallery (2024) alongside famed contemporary artists in Mr. Doodle and Travis Fish. He has also exhibited actively at Postedit Gallery (2025), Space Fountain (2023). He continues to garner international attention through shows at Monat Gallery (Spain, 2023), Vinyl on Vinyl Gallery (Philippines, 2025) and Verygood Gallery (Philippines, 2025).


HUH, HU?, Solo Exhibition, ROY GALLERY, Seoul, South Korea


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. 

Philippe Parreno is a French Artist who rose to prominence in the 1990s, earning critical acclaim for his work that spans a diversity of media, including film, sculpture, drawing, and text. Parreno’s work redefined the exhibition experience by taking it as a medium, placing its construction at the heart of his process.
Parreno has exhibited extensively and has work in major institutions worldwide. His presentation at Cahiers d’Art inaugurates a year of major exhibitions and projects, including solo presentations at the Leeum Museum in Seoul, the Haus der Kunst in Munich, and an important project at the Fondation Beyeler in Basel.

For Hyunmo Yang, drawing is an observational attempt of self-reflection that leads to a process of balancing. Fragments of daily experiences and emotions manifest as oscillating lines or dense shadowy spaces-proving the interstices of Yang’s painting and existence.

Whispering Currents, Hyunmo Yang Solo Exhibition, ROY GALLERY Apgujeong

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. 

Seasons

Yoo Suzy work explores the connections between nature and people, between the self and others. She paints ordinary experiences and memories with a personal touch. Her paintings of landscapes and memories resemble real scenes while blending personal impressions and sensations, with the size, color, and form of subjects freely interchanging and overlapping each other fluidly. The "continuity" in her paintings encompasses all shapes of connection that are naturally assigned at birth and continue to link somewhere throughout life. Her works, written as daily records like a diary, are expressed through various materials and techniques, expanding personal stories into universal narratives that connect everyone.

Lee Ufan is a South Korean artist and art critic born in 1936 in Haman-gun on the southern Korean peninsula, then part of the Japanese empire. He moved to Japan when he was 20 years old, and developed a practice anchored in an Eastern understanding of the nature of materials together with an appreciation of modern European phenomenology. In 2009, the Japanese government honored Lee by conferring the Order of the Rising Sun for “contributing to the development of contemporary art in Japan.” In 2010 the Lee Ufan Museum, designed by Tadao Ando, opened at Benesse Art Site, Naoshima, Japan. Lee has had major exhibitions worldwide, including a retrospective at the Solomon R Guggenheim Museum in New York City in 2011. In 2014, he was selected for the contemporary art program of the Palais de Versailles, and in 2019 the Hirshhorn Museum and Sculpture Garden in Washington DC commissioned a site-specific installation for the museum’s plaza. Lee divides his time between Kamakura, Japan and Paris.

Ed. 7/10, 4AP, 3HC

Ed. 6/10, 4AP, 3HC

Sungju Ham discovers a formal language from close and familiar images and conducts experimental work on the canvas, varying the frames of the images. He focuses on the boundaries of experiencing the unknown by translating images viewed through phone screens and computer monitors, and then transferring them to canvas. The work process involves capturing the reference image in its liquid crystal state, then translating the image through the camera, followed by the painting process. 

Yerim Choi's paintings focus on the present. The 'moment' is one that has not been found or is easily neglected. The artist has the desire to capture and convey these moments to the public. She majored in the Department of Fine Arts at Seoul National University of Science and Technology, and she continues to capture and recall pleasant recollections. Warm moments pause the movement of busy individuals, and the artist uses this moment to communicate with the audience and transmit warmth. Warm moments give confidence to confront the next difficulty, allowing for the next stage of recovery in daily life. The artist believes that the world as seen through her eyes will be reinterpreted and conveyed with a new tenderness.  

장 미셸 오토니엘은 프랑스를 대표하는 현대미술가로서, 그의 예술 작품은 주로 설치미술, 사진, 조각 등 여러 매체를 통해 표현된다. 삶에서 이뤄지는 다양한 만남과 문화에서 끊임없는 영감을 받는 그는 80년대 후반부터 이를 자신의 개인적 경험과 결합해 왔다. 특히 주재료 유리를 이용한 독특한 작업 방식으로 유명한데, 다채로운 색상과 크기, 투명성, 반짝임 등을 활용해 인간 존재와 관념, 삶의 의미를 다룬다. 영롱한 그의 유리구슬은 수공 과정에서 생긴 일부 흠집들과 공존하며 깨지기 쉬운 유리의 본래 속성을 동시에 연상시킨다. 오토니엘은 이를 인간 삶과 연결해 현재를 살아가는 모든 이들이 상처와 고통을 극복하고 세상과 마주할 수 있는 희망을 전한다.

오토니엘은 1992년 제9회 카셀 도큐멘타 초대작가로 주목받았으며, 2000년 파리 지하철역 개통 100주년 기념 프로젝트로 세계적 명성을 얻었다. 최근인 2019년 루브르(Louvre)의 요청으로 작업한 회화 작업이 미술관에 영구 소장 되었고, 올해 문화 발전의 공로를 인정받아 프랑스 최고 영예인 레지옹 도뇌르 훈장을 수상했다. 한편 그의 작품은 미국 뉴욕 MoMA, 뉴욕 브루클린 미술관, 파리 퐁피두 센터, 파리시립 현대미술관, 까르띠에 현대미술재단, 이탈리아 베니스 페기 구겐하임 컬렉션, 서울 삼성미술관 리움 등에 소장되어 있다. 

Jean-Michel Othoniel, a prominent contemporary French artist, is renowned for his works spanning various mediums including installation, photography, and sculpture. Drawing continuous inspiration from diverse encounters and cultural experiences since the late 1980s, he blends these influences with his personal experiences. Othoniel is particularly acclaimed for his unique approach using glass as his primary material, employing a spectrum of colors, sizes, transparency, and shimmer to explore themes of human existence, concepts, and the essence of life. His luminous glass beads, coexisting with imperfections from the handcrafting process, reflect the fragile nature of glass, symbolizing hope for all to overcome life's challenges and pain.

Othoniel gained international recognition as an invited artist at the 9th Documenta in Kassel in 1992 and furthered his reputation with a major project commemorating the centenary of the Paris Metro in 2000. His recent achievements include permanent inclusion of his painting series by the Louvre in 2019 and receiving France's highest honor, the Légion d’honneur, for his contribution to cultural development. His works are housed in numerous renowned collections such as the Centre Pompidou, Fondation Cartier pour l'Art Contemporain, and the Louvre Museum Paris; Museum of Modern Art and New York Public Library, New York; Boghossian Foundation, Brussels; Leeum Samsung Museum of Art, Seoul; Budi Tek-Yuz Museum, Shanghai; and the Peggy Guggenheim Collection, Venice.

I once read a column by a Korean journalist. In it, he recounted a moment during his travels in the Middle East when he suddenly remembered a novel he had read in his youth that had left a deep impression on him. On a whim, he stepped into a shop and purchased a carpet. Rather than placing it on the floor, he brought it home and hung it on the wall as a decoration.

While working on my own practice, I found myself struggling for a time, unsure of what kind of painting I should make. Some pieces came easily, but others did not. As I looked at the discarded canvas and paint, I tried to understand the cause, but I could only feel lost and uncertain. Recently, however, I had a chance to look deeper into myself. A few significant events—some big, some small—created that opportunity. I began to retrace memories I had previously passed over without much thought, flipping through old photo albums, selecting images that resonated with me in a different way than before. I even read the novel that had inspired the journalist.

In the novel, the carpet is a gift given to the protagonist by an old poet when asked what life is. Only later, after experiencing the various hardships of life, does the protagonist come to understand its meaning. The carpet affirms the purposelessness of life. Just as the weaver wove the carpet to fulfill their own aesthetic sensibility, without any other purpose, we too must accept that life is not about clinging to each and every event, but about recognizing that our own pattern is gradually taking shape.

Reflecting on the story, I felt a sense of peace. Like the weaver crafting the carpet, like the journalist who chose to hang it on the wall rather than lay it on the floor, I fixed raw canvas directly to the wall, without a frame, and traced its surface with dry, short brushstrokes, as if following the warp threads of a carpet. This method of working felt natural. As I focused on the rough texture of the brushstrokes, the painting began to take on a pattern of its own.

HaSeulLin Jeong has an interest in paintings that are located between images and materials and can simultaneously deduce the axis of time. She is a graduate of the Korea National University of Arts and the Academy of Fine Arts in Prague, where she studied Printmaking and Painting. Later, the artist deliberately leaves traces of the previous layer or creates a support structure that will be influenced by the prior and following layers of paint, resulting in visual interpretation. HaSeulLin Jeong's artwork provides the viewer with the experience of pondering for a prolonged period of time, imagining the source of the material, and sensing that the senses are real through an individual sense that is intuitive and universally shared. 

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).

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.

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.

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.


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