Changyeol Gu translates the sensorial language of plants—acquired through growing up near lush fields and overgrown meadows—into a painterly language of his own. Observing how natural forms continually shift their appearance through colour and shape, the artist identifies mechanisms of seduction devised for reproduction and systems of protection evolved for survival. These elements are perceived not merely as formal characteristics of nature, but as autonomous languages in themselves.

By radically enlarging or intensifying the structures through which plants communicate and endure—such as the arrangement of pistils and stamens, the colours and scents that attract pollinators, and the thorns and hairs evolved for defence—the artist summons onto the canvas the distinctive wonder of what he terms “speaking plants.”

Since its establishment, Gallery Kabinett has aimed to play a pivotal role in managing and establishing promising artists, both domestically and internationally. Through strategic institutional introductions and comprehensive artist development programs, we seek to explore the various possibilities of visual arts by close collaboration with other industries.

We strive to enhance the competitiveness of Korean art and align it with global standards, all while showcasing Korean artistic elements to ultimately exert significant global influence.

Gallery Kabinett

Gathering toward dispersal

Some landscapes touch the body before they are understood. Standing before Seonghwa Hong’s paintings is like stepping into the stillness of a hushed dawn.
As Merleau-Ponty suggested, seeing is not a mere act of analysis but a way of being intertwined with the world. Figures adopt the pulse of plants as their breath and the patterns of leaves as their skin. By emptying the self rather than imposing artificial definitions onto the raw linen, Hong allows her subjects to enter the space on their own terms. Through the patient accumulation of layered color, the canvas gradually reaches a density that lifts itself toward a moment of quiet liberation.
Here, time suspends its horizontal flow and sinks into depth. Moving beyond artificial definitions, this exhibition becomes a serene first breath—inviting us to sense the true texture of existence, momentarily freed from the frantic pace of the world.


| Elevate Artists to the Center of Culture |
Since its opening in 2019, Gallery Collast has consistently presented a diverse and unique range of solo and curated exhibitions. The name "Collast" is a meaningful fusion of "Collaboration" and "Artist," reflecting our commitment to creating creative works that spark a new wave in contemporary art through deep partnership with artists.

Located in the vibrant and youthful district of Seongsu-dong, Seoul, we aim to introduce contemporary art to a broader public. Our mission is to facilitate multifaceted communication between artists and collectors, contributing to a virtuous cycle within the art market. Moving beyond the traditional "white cube" gallery format, we pursue a new gallery identity that rawly captures the artist's passion and energy.

As an open space for everyone, we prioritize interactive exhibitions over one-way displays and actively support bold, adventurous artistic endeavors. We respect the diverse currents of contemporary art and believe that natural dialogue and an intimate atmosphere between artists and visitors can dismantle the barriers to the art world.

Gallery Collast seeks new dimensions in contemporary art, moving forward with the conviction that freedom is the ultimate driver of innovation.

COLLAST

Serenity 38

Buwon develops paintings and art toys rooted in his long-standing interest in toys and street culture, centering on a rabbit character modeled after himself. Behind its charming appearance, the character embodies emotions from growth and uncertainty to humor and cynicism, reflecting the artist’s personal narratives. Moving fluidly between digital and analog, 2D and 3D, he continues to expand his distinctive artistic universe through global brand collaborations and international exhibitions.

Gallery STAN is a contemporary art gallery based in Seoul, dedicated to presenting bold and thought-provoking works by emerging and established artists from Korea and beyond. Founded with a vision to serve as a dynamic platform for experimental narratives and cultural dialogues, the gallery is committed to fostering artistic practices that engage with the complexities of our time.

Through solo and group exhibitions, public programs, and interdisciplinary collaborations, Gallery STAN seeks to blur the boundaries between visual art, performance, design, and new media. The gallery places a strong emphasis on curatorial experimentation and social relevance, offering both local and international audiences a space to encounter new ideas and perspectives.

As an active player in the global art ecosystem, Gallery STAN also participates in major art fairs and collaborates with institutions, collectors, and curators to support the long-term growth of its artists. At the heart of its mission lies a belief in art’s ability to question, connect, and transform.

Gallery STAN

Testosterone 02

Kim Joo-hyun's current works represent a series of creative endeavors striving to exclude conventional drawing devices, such as vanishing points, which were habitually employed in the past. While the artist intervenes to generate images on the canvas, the work is completed by focusing solely on creating color, ensuring meaning and intention do not surface. Water-based acrylic paint is applied horizontally, allowed to settle and dry, or tilted to induce flow. Through this process, the canvas reveals a natural visual topography. The “stability derived from uncertainty” mentioned by artist Kim Joo-hyun does not resolve into form, stemming from an effort to constantly evade things defined and fixed by meaning. Since neither subject matter nor theme drives the image, the completed work evokes the artist's experienced synesthesia and fleeting moments.

Pageroom8 aims for an organic and infinite relationship between exhibitions and books. With the opening of a space in March 2021, special exhibitions are being held in earnest. The exhibition is largely composed of several series projects and special exhibitions, efficiently and intensively introducing the works of emerging and established artists.

PAGEROOM8

Red Depth

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

Still Life on the Table-Cherry Cake

This work was composed while imagining a group of forms—possibly plants or animals—ascending a steep terrain. It emerged from a chain of reflections on the meanings embedded in the act of “climbing.”

While considering how one might endure the longest on sharply inclined ground, the artist arrived at the idea of ascent, ultimately realizing that all such methods are ways of efficiently resisting gravity. This line of thought naturally extends to a meditation on “standing,” connecting the work conceptually with the accompanying piece, ‘둥글납작하게 서 있는’.

CDA is a gallery stands for ‘Creative’, ‘Discovery’, and ‘Appreciation’. The gallery mainly presents creative activities in various fields of contemporary visual arts in the form of exhibitions. CDA exhibition mainly focuses on paintings but subjects to all kinds of genres and mediums such as sculpture, prints, photography, animation, and video. The form of the exhibitions is also balanced, with a mix of solo and group exhibitions, as well as art fairs and collaborative projects. We sincerely hope that our activities will serve as a spark for the realization of meaningful projects for creators(artists) and an opportunity for audiences to expand their inspiration and collecting.

오르는 모습들 Ascending Forms

The forms depicted by artist Bac Jung-won seem to transcend mere observation, as if they were penetrating and dissolving into their very existence. It is as if one tunes into their self-awareness, accepting the sensation of time. Though oil paintings, the toned-down colors and watercolor-like silhouettes, rendered with relatively high saturation and transparency, are positioned precisely where needed. They make us see the actual, moistly water-laden forest, the grapevine, and the waves crashing in the deep night. The artist's subjects are somewhat distant from those we associate with linear life cycles. Perhaps the simultaneous coexistence of transience and eternity felt within them represents a twisted sense of time—one that embraces even the clumsy death that no one can truly know unless experienced.

A Rainforest

“Translation does not repeat the original; it expands its possibilities.” by Walter Benjamin
This statement by Walter Benjamin describes precisely how Hwang Hyeyoung’s Nana’s Wonderland operates. Borrowing the structural framework of Alice in Wonderland, the artist brings it into her own pictorial universe, opening new imaginative possibilities.
At the center of the exhibition, the fairytale book and the paintings mirror one another, forming a “living story” that the viewer enters rather than reads page by page. Nana’s Wonderland is not a simple variation on a narrative; it is a process in which text and image build a world together. Nana’s journey becomes the first scene through which the artist reveals how her artistic world expands and reconstructs itself.

ALICES

The Light of Space Race series illuminates the individual within the historical current of the Space Race between the United States and the Soviet Union. Initiated in the name of humanity’s great leap forward, the series explores the duality of light and shadow inherent in advanced technologies—achievements that were ultimately driven by political and military ambitions

Hippie Hannam is a gallery that moves beyond prevailing trends, working alongside artists who engage with the world through their own distinct sensibilities to create new and meaningful experiences. By revisiting familiar scenes and approaching them from alternative perspectives, the gallery explores the diverse possibilities of contemporary art.

Hippie Hannam seeks to foster an environment where artists and audiences meet organically, and where art becomes part of everyday perception. Through these encounters, the gallery aims to offer an open platform in which contemporary art can be experienced with ease, allowing each visitor to engage and reflect at their own pace.

Hippie Hannam Gallery

Light of space race 4

Through Lines of Sight, SPACE776 Seoul poses a question central to contemporary art: not simply what is depicted, but under what conditions one looks. Situated at the intersection of the visual history shaped by the modern invention of the automobile and contemporary painterly sensibilities, the exhibition quietly reveals the flows and rhythms that emerge as disparate lines of sight overlap within a shared space.

Space776 exhibits early to mid-career artists who work in a variety of mediums ranging from live multimedia performance art to traditional oil painting. The gallery accommodates artists from around the globe, taking their works to local and international art fairs such as Volta New York, Volta Basel, Art Miami, Palm Beach Modern + Contemporary, and Art Busan. 
Space776 was founded in Bushwick, Brooklyn in 2013. In 2020, the gallery relocated to its current residence at 37-39 Clinton Street on the Lower East Side of Manhattan. Space776 also opened a location in Seoul, South Korea in 2020 in accordance with the gallery’s mission to promote the international exchange between local New York artists and the Korean artistic sphere. 

Space776

어떤 도시조각

“Crying Bird” is a figurative painting. The emotions of the surviving bird, which laments the loss of the departed mate, and the viewpoint of the world watching it coexist in work. The artist creates a narrative of conflicting feelings within the canvas using a contemporary interpretation of Oriental painting, including flowers blooming and falling, a cat playing, a dead bird, and a bird weeping. The artist's belief that everyday life is nonsense is revealed by the contrast between the unassumingly beautiful landscape and painful emotions.

아르투(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.

Artue - Korea

Crying bird

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.

Founded in 1926 by Christian Zervos at 14, rue du Dragon in the heart of Saint-Germain-des-Prés, Cahiers d’Art encompasses a publishing house, a gallery, and a revue. The Cahiers d’Art Revue was entirely unique when it was introduced, and it still is: a revue of contemporary art defined by its combination of striking typography and layout, abundant photography, and juxtaposition of ancient and modern art.
Between the 1920s and the mid-1970s, Cahiers d’Art published ninety-seven issues of the Revue and more than fifty books on fine art and architecture, as well as the thirty-three volume catalogue raisonné of Pablo Picasso. After its acquisition and relaunch in 2012 by Staffan Ahrenberg, an editorial board comprised of Sam Keller, Hans Ulrich Obrist, Isabela Mora, and Staffan Ahrenberg was created. Cahiers d’Art has since published several new Revues and art books devoted to Ellsworth Kelly, Rosemarie Trockel, Hiroshi Sugimoto, Alexander Calder, Pablo Picasso, Thomas Schütte, Gabriel Orozco, Joan Miró, Lucas Arruda, Ai Weiwei, Arthur Jafa, Frank Gehry, Christo, and others. From the 1920s till today, Cahiers d’Art has maintained a gallery, exhibiting the artists it publishes.
Cahiers d’Art continues to fulfill its mission to be the cultural bridge between the avant-garde of Picasso, Duchamp, and Le Corbusier, and the leading artists and architects of our time.

Cahiers d'Art

Philippe Parreno, Limited edition including original artwork

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)

"Sunlight" is an art experiment whose theme is a discussion of the increasing phenomena of online communication that has no hesitation about exposing one's everyday life or personal secrets. The artist conveys a message on human relationships using broadened social networks in the 21st century. The artist's unique realistic art, expressed in soft and bright colors like a camera filter had been applied, is reminiscent of a social network image that depicts an ordinary, but edited daily existence to show off. Through this way of working, the artist offers time to contemplate the modern individual's isolation resulting from virtual human ties.

Sunlight

RCB Experimental Art Lab, an innovative project by River City Bangkok, is more than just a gallery—it’s a dynamic space where artistic boundaries are pushed, and new horizons are explored. We encourage a variety of artists, both new and experienced, to "Explore" unexplored creativity, "Experiment" with ideas and stories from various art media, and "Exchange" conversations between Thai and international artists to spark new creativity. We also intend to provide a platform where artists, viewers, and collectors may share ideas and support. The talented artists ; Art Jeeno, Chonnapas Yokyai, FAHFAHS, Munins, Phichai Keawvichit, Tuagomstudio, Tum Ulit, and WAL, have all shown their work with us.

RCB Experimental Art Lab

Break 04

A girl lying on a mountain top full of flowers, she is holding a big flower that resembles a windwhirl. She spins it effortlessly, in the same spiral the sky is spinning, and in the same motion her two ponytails are spinning. The painting is really about this single moment of nothing and everything, she is resting, spinning the flower. But the movement extends outwards, into infinity, like the spiral that grows, and the petals that open when a flower blooms, it's about that movement, how we are part of it, expanding.

Artemin is a human gene located on the human chromosome 1 (1p34.1), so called as ART. Its main function is related to the development of neuroblast and the peripheral nervous system.

Artemin Gallery was founded in 2020, and our name was inspired by the gene, aims to have a keen and rapid perception of art, similar to the transmission of nerves. We committed to discovering the connection between art and everyday life, searching for potential artists, and exploring the infinite possibilities of contemporary art.

Artemin Gallery

Spinner

Made of fine human hair knitted together, the work presents samples of microorganisms, enlarged, and neatly encased in 49 acrylic boxes. Seen from above, these minute sculptures, when grouped together, resemble a garden. The very word ‘plankton’, from ancient Greek meaning “drifter” or “wanderer”, refers to the myriad microorganisms that, as its etymology says, are carried by tides and currents, unable to move against these forces. As harmless and tiny as they are, these microorganisms are responsible for the photosynthesis of most of the oxygen on Earth along with seagrass. In fact, both species use carbon dioxide, water, and energy from the sun to make food for themselves, releasing oxygen in the process. 
Each box is sold individually. A total of 49 boxes are available.

Warin Lab Contemporary’s distinctive commitment is to engage the global audience by addressing vital social issues through leading-edge curatorial projects. The space works with artists and curators from around the world to create meaningful dialogues through works that provoke thought and stimulate action.

To achieve the goal of engaging the audience at a profound level, the space devotes its focus to only one social issue per year. Since its inception in 2021, the theme has solely been “Environment.” During the year, the art space houses art exhibitions by different artists who explore environmental and sustainability issues through their own perspectives and approaches.

Warin Lab Contemporary

Plankton

ROUND 2

Rooted in the principles of Eastern painting, Hong Seonghwa expresses the rhythm of emotion through line and void. Her controlled strokes carry inner vibration, and the spread of ink leaves traces of time and sentiment. By blending traditional technique with modern composition, she visualizes the breathing and movement of feeling. Her work resonates like a silent rhythm, inviting viewers to look inward and sense their own emotional echoes.


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.

Kim Joo-hyun's current works represent a series of creative endeavors striving to exclude conventional drawing devices, such as vanishing points, which were habitually employed in the past. While the artist intervenes to generate images on the canvas, the work is completed by focusing solely on creating color, ensuring meaning and intention do not surface. Water-based acrylic paint is applied horizontally, allowed to settle and dry, or tilted to induce flow. Through this process, the canvas reveals a natural visual topography. As artist Kim Joo-hyun stated, the “stability derived from uncertainty” does not resolve into form, stemming from an effort to constantly evade things defined and fixed by meaning. Since neither subject matter nor theme drives the image, the completed work evokes the artist's experienced synesthesia and fleeting moments. As seen in 〈Destiny of Warmth〉 (2025), diluted pigments accumulate, erode, and leave powdery residues. The duration of the production process remains unknowable until one observes the layers of color built up on the canvas's edges. However, it is intriguing that the physical time required for the layers of water and pigment to settle and stabilize on the canvas is comparable to that needed for the sedimentary layers or soil in an actual riverbed.


Hyewon Na is a painter born in Gwangju, South Korea. Her work explores conflicting yet coexisting emotional states, such as anxiety, violence, imperfection, sacrifice, love, and beauty. Through her art, she reflects on human vulnerability and the tension between finitude and eternity. Her work is a study of how to aesthetically represent these human contradictions. Much of her inspiration comes from history, society, religion, and more.
She earned her Diplom from the Hochschule für Bildende Künste Dresden (under Professor Martin Honert) in Germany, and has participated in numerous solo and group exhibitions in South Korea, Berlin, Dresden, Paris, and other cities. She currently resides and works in Berlin, Germany.

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.

Bac Jungwon has drawn compositional paintings that express the invisible emotions and minds of humans through various scenes encountered in daily life. After receiving a bachelor's and master's degree in Fine Arts from Kookmin University, she painted unusual, dreamlike, and dramatic situations, but in her mid-30s, she began to paint natural objects and everyday landscapes. Her paintings reveal the fragile psychology and feelings of contemporary people, which are concealed beneath the solid shell of civilization. The artist portrays difficult-to-express psychological levels through a variety of painting mediums, including sketching, watercolor, and oil painting. It defines creation as the discovery of remarkable moments in the repetition of her previous everyday existence and the transformation of the meaning into a material known as painting and reconstructs a daily life from her own unique perspective.

Hwang Hyeyoung develops her practice around the central figure of the “girl.” In her work, the girl is a symbolic being who transcends specific gender and age.
Through this figure, Hwang reflects her own fragility, immaturity, and honesty, unfolding stories that resonate with her personal journey of growth. She expresses deep empathy for those experiencing the turbulent waves of adolescence, portraying the moments of growth encountered over time by both the girl in her paintings and the artist herself in reality. The forest in which the girl resides symbolizes the trials of adolescence; the expression of diverse emotions, the courage to confront threats and anxieties, and the adventurous spirit to explore new challenges and unknown worlds are all depicted as integral parts of the process of growing up.

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.

The artist records vanished neighborhoods and landscapes, translating memory and loss into painting. The city is reimagined not as a real place, but as a layered, emotional space shaped by time and perception. What remains is a self-portrait, constructed through the memory of a city that no longer exists.

Yerang Hwang depicts the contradiction and compassion of the familiar world. After receiving a master's degree in Korean painting from Sejong University, she broke down the boundary between western and oriental paintings, and reinterpreted oriental artworks from her own perspective. Concerned with the categories and medium of Korean painting, the artist experiments with several display approaches. Through the appearance of contradictory materials, visitors are prompted to consider the two opposing feelings, and the artist's vision of the world is depicted through the capture of everyday life. 

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.

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

Goyona Jung is interested in the contemporary demand for exposure on social networks and image formation in human relationships via the Internet. She attempted to collaborate with media and painting after graduating from Hongik University with a degree in Painting. She worked in Korea as “Live Cam Painting”, which offers not only personal daily memories but also other people's daily lives in real time with the audience, and she has expanded her activities abroad to include a number of exhibitions. Through her works, the artist conveys a message about the issues of modern society and raises questions about the gap between modern people's loneliness and their edited daily lives. 

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. 


Born in Ukraine in 1993, Katia Lifshin lives and works in Tel Aviv, Israel. She studied art at Pima College in Tucson, Arizona, before continuing her practice independently, gradually shaping a distinctive visual language.

Imhathai Suwatthanasilp is an internationally known artist, in particular for her use of human hair as the main material to create her artworks. She relates hair to the human experience through works that are tactile and emotive, posing existential questions to the audience. As such, Imhathai’s works explore notions of gender equality, life, death, violence, morality, and spiritual and beliefs systems especially in relation to Thai society. Responding to ongoing social concerns, Imhathai’s recent works expand to environmental issues that emphasise our individual participation and responsibility towards how we care for the nature surrounding us. 

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