"언제 안녕이 오지(Annyeong, Are you coming?)" is a solo exhibition by first-generation illustrator Morae Shin, exploring the emotional connection between the artist and the audience through a narrative that personifies "Hello." Based on three years of reflection and work, this exhibition conveys a heartfelt message about the anticipation of a meaningful "hello."

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.

Reflect 2

The series "In Time, We Bloom Beyond the Darkness" began with the idea of transforming the sense of loss from physical wounds into the vitality of new growth. It portrays the layers of a body regenerating over its scars, using organic lines inspired by nature to express the energy of life. Growth is a meaningful process, but to achieve it, we must pass through times of effort, self-denial, anxiety, and disappointment—eventually, we bloom.

With flowing, organic curves, the works depict a body expanding and radiating energy, resembling treasures like shells, pearls, coral, and stones—objects formed over time through endurance and transformation. These elements aim to capture the textured value of past, present, and future moments. The patterns are akin to wrinkles that naturally form on our faces, traces that reflect the passage of time.

Even now, we are moving through certain times. Let us not linger here but rise and move forward to the next. As long as we stand, we continue to live. Let us leave the past behind, focus on loving, living, and dedicating ourselves fully to the journey of life.

In Time, We Bloom Beyond the Darkness 1

Through photoscollected via the web, Kim's work embodies the imagined nature and conveys it as though it had been experienced in real life. While traditionalartworks convey nature seen through sight as seen while painting, Kim captures the essence of the asynchronous image seized throughphotography. The "On the waves." series expresses the location and moment where fiction and reality collide by overlapping the seasons andweather experienced on an anonymous beach and in real life. With shards of senses colliding and combining, these pieces try to aggregateeveryday life with remnants of incidental sensations. The imagined sense of movement is artistically articulated, recreated with a thin sense ofspace, and placed on a canvas based on digital photographs. It takes in the image from the monitor and applies a tiny bit of creativity to create awhole new visual world. The moment's image is caught and the invisible components are conveyed visually through the waves that carry theseason's colors. By contemplating and creating a virtual environment, Kim continues her search to find a distinct depth amid the priceless andsuperficial details of precise pieces. By doing this, she emphasizes leaving sensory imprints and communicating beyond the confines of realityand fantasy.

"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.


OBJECTHOOD

Waves of Morning Glow

The artist, writer, and traveller Juli Baker and Summer invites us into her world of vivid, emotive storytelling. Known for her dynamic use of colour and expressive brushstrokes, her works are deeply personal yet universally resonant, seamlessly blending themes of memory, culture, and social observation. Each piece acts as a page from her visual journal, capturing the warmth of everyday life while offering nuanced reflections on broader societal complexities.

For Access Bangkok Art Fair 2024, Juli Baker and Summer presents her latest series "Journal of the Nordic Lands" comprising six new paintings inspired by her recent journey to Scandinavia.

SAC Gallery was founded by Subhashok Angsuvarnsiri in 2012 as an art space with more than a thousand square meters across four floors in the heart of Bangkok. SAC Gallery seeks to develop the career of Thai and Southeast Asian artists on an international level through engaging in-person and digital programming as well as regular participation in art fairs throughout the world.

SAC Gallery

Reindeer Ride

PARK CHULHO From 2010 to 2014, Park Chulho temporarily used the alias JH SHOW to conceal his identity while collaborating with fellow artists. During this period, he manually edited press photos from LIFE magazine, cutting them with a craft knife and assembling them into pop-up book-like structures.
These manipulated images were then rephotographed, creating theatrical compositions that blur the line between truth and fiction. Park's "LIE" series, a pivotal body of work exploring human nature through various media, will be showcased at ACCESS BANGKOK for the first time in 15 years. His interpretations of social issues and cultural phenomena are marked by a playful yet refined sense of humor, known in Korean as "haehak"—a harmonious wit that injects humor into reality while maintaining dignity.

Director Yoo Keetae of Placemak started the culture and art business in 2006. He majored in sculpture in college and was an artist working on performances. Yoo Keetae felt that he had few and limited opportunities to showcase his works. He opened a bar called ‘BARDAQ’ in ‘Hongdae’, a representative gathering place for artists in Seoul. People who visited the bar could naturally appreciate the artwork while drinking and listening to music. He even removed all the tables and chairs from the bar to showcase the artist's work. Five years later, in 2010, Yoo Keetae opened the White Cube ‘Placemak’ in ‘Yeonnam-dong,’ a neighborhood of ‘Hongdae’, for exhibition only. The close relationship with the artists created on the ‘BARDAQ’ was connected/maintained until the place act. In 2011, an additional ‘Maksa’ will be opened in the old market building, which is outdated to present performances as well as exhibitions. The Placemak and Maksa are located in the building next door, facing each other. Yoo Keetae also ran a 'Tokeebar' in Yeonnam-dong to finance the operation of the exhibition space. Since then, commerce and capital have rapidly flowed into the area where the Placemak is located. Placemak moved to Yeonhui-dong, a nearby area, in 2016 as it suffered damage from gentrification. In July 2016, ‘Laser’, an exhibition space for artists’ networks and media art, was additionally opened in Yeonhui-dong. As the number of operating spaces increases, ‘Maksa’ will be renamed ‘Placemak1’, the Yeonhui-dong exhibition space will be renamed ‘Placemak2’, and ‘Laser’ will be renamed ‘Placemak3’. Incheon, a satellite city about an hour away from Seoul, is an area where writers gather because prices are cheap. Placemak operated an exhibition space in Incheon from 2018 to 2020, and also performed multi-genre activities with young artists. Placemak's projects include 'Term Gallery' to expand art trade windows and 'Mak Expedition' to revitalize local art.

PLACEMAK BKK

IMPRESSIVE INFLUENCE URINATE OF DUCHAMP, 2014

This Issue is dedicated to artist Hiroshi Sugimoto. This number actually corresponds to number 100 since the founding of the review in 1926. It presents several texts by Sugimoto, an interview with the artist by Hans Ulrich Obrist, a large series of photos of fossils made by the artist, some of which were exhibited in the spaces of Cahiers d’Art. It includes an unprecedented and never published series of photographs of masterpieces of canonical modern artists (Picasso, Duchamp, Brancusi) produced by the artist at MoMA, but also in situ views of the “Today” project today, the world is dead “produced at the Palais de Tokyo until September 7, 2014. A text by Jacques Herzog is devoted to Sugimoto’s report on architecture.
Limited edition of 25 French copies and 25 English copies all signed. 
A recent work by Sugimoto, Marcel Duchamp, Bicycle Wheel (2014) was exclusively chosen for the cover of this limited edition, presented in an embossed box covered with yellow fabric and designed by the artist. Each review has the artist’s signature next to In Praise of Shadow 980906, a work specially created for the review composed of a lithograph and a transparent printed paper. The two versions, French and English, are each accompanied by a unique gelatin silver print, reserved for this limited edition of 25 and chosen by the artist in the Pre-Photography Time-Recording Devices series.

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

PPTRD 040, limited edition including original artwork

Artas Galeri was established in 2020 at The Strand, Kota Damansara, Petaling Jaya.

Our main objective is to promote our local Arts. It also stands as a platform for talented and emerging Artists to educate, inspire, and motivate with the power of Arts.

Artas Gallery

Fragments of Emotion

Bac Jungwon delves into the ordinary rhythms of daily life to unearth moments that stand out as extraordinary, often expressing them through her artistry in painting. One of her recurring motifs is the "Lonely flower" which she often depicts in watercolor. Here, she zeroes in on the transient moment when a once-vibrant and perfectly poised flower begins to fade, losing its innate vitality and hue. Beyond merely capturing a still life, this theme acts as an allegory for the fragility and ephemerality of human life. The artist aligns with the painter's eternal task of preserving fleeting moments in time and, in doing so, becomes an observer of daily life, meticulously documenting its processes. 'Still Life', a continuation of her thematic exploration, tells the story of the lily. Amongst all flowers, the lily stands out as epitomizing grace, yet its withering process is starkly grotesque. Park captures the lily's delicate, elongated, and tragically twisted form—akin to slender fingers—alongside its faded petal hues on a vast canvas, exaggerating its features with boldness. Her technique involves generously pouring paint onto the canvas, then smudging, wiping, and scratching it away. Through this process, she conveys the juxtaposition of beauty and the intimidating specter of death.

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.

Artue - Korea

Still life

Jihye, born in Seoul in 1993, is an artist who uses photography, videography, and writing to capture the essence of everyday life. Her fascination with her surroundings began at a young age when her father gifted her a camera. Her passion for recording the beauty of mundane moments has only grown stronger over time. Jihye's art is a reflection of her belief in the power of capturing and preserving moments that are often overlooked. Through her lens, she finds joy in revealing the beauty of the everyday world, from the landscapes that she encounters to the people she meets. Her work serves as a reminder that it's often the small, seemingly insignificant details that make life worth living. Jihye's art is deeply personal, yet it speaks to universal truths that connect us all. Through her art, she hopes to inspire others to appreciate the beauty of everyday life and to find joy in the moments that might otherwise be forgotten.

Ginger Lemon Tea

December

Jeroz brings enjoyment to the viewer by encouraging them to imagine and expand upon the context of the artwork through his written introductions, reminiscent of a novel excerpt. His work, 'Yellow Eyed Cat,' accompanied by the introduction 'I don't know what you might like,' draws inspiration from a cat in the studio he frequently visits. He regards the cat as appealing and expresses his state of mind - of persisting until this yellow-eyed cat is satisfied - through his work. The deep saturation and contrast in light and dark show the warmth in the artist's portrayal of everyday life, while individual moving animation elements add fun to the artwork.

Yellow eyed cat

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.

Accidental romance

Han Youngsoo is recognized as one of the first commercial photographers in South Korea, capturing the beauty of Seoul's streets from 1956 to 1963 during the country's postwar reconstruction and rapid modernization. His refined perspective continues to be celebrated, with recent acquisitions by LACMA (Los Angeles) and the International Center of Photography (New York).

BAIK ART is a contemporary art gallery based in Los Angeles, Seoul, and Jakarta. Established in Los Angeles in 2014, BAIK ART has introduced artists whose works deal with individual hybridity, globalization, and cultural diaspora. In 2016, BAIK ART expanded its presence to Seoul, promoting an active artistic exchange between the two cities. In 2022, BAIK ART launched its third location in Jakarta while Baik Art Seoul simultaneously relocated and reopened with an inaugural solo exhibition of Han Youngsoo.

Baik Art

Myeong-dong, Seoul, Korea 1956-1963

“Cosmos” is one of a series of works titled <Fragments>, revealing the artist’s philosophy that our emotions and lives are not intact, but a process of emptying, growing, refining, and finding balance. The artist visualizes our lives and feelings on the canvas using line and color, excluding other media and expressive techniques in an attempt to capture something with the flow of the brush alone. The connection between the fragments that resemble scars and the process of struggle and triumph in our life conveys that the journey is beautiful in and of itself. He hopes that the audience would experience the beauty of emptying themselves of their own demands, difficulties, hurts, and sorrows and filling themselves with something new.

Cosmos

Trees

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

Messenger no.13

Townhouse

"Tree of Life, 2024" is part of the "Take Some Time" series, a ceramic series of candle holders inspired by the beauty of unproductivity and the power of slowing down. In a world that often values constant activity, these pieces invite you to embrace moments of stillness and self-care, recognising that taking time for oneself is a profound act of resistance and empowerment.


Tree of Life, 2024

Morae Shin is a contemporary artist renowned for her dreamy yet sensuous artistic world. Her works often employ pink tones and neon lighting, creating a unique atmosphere that blends vivid colors with expressionless figures. Through these figures, she conveys emotions such as solitude and emptiness, inviting viewers to interpret and confront the feelings embedded within her art from their own perspectives.

Since beginning her career in 2013, She has expanded her creative endeavors across various mediums, including digital illustration, painting, and video art. She regards her work as a "diary," capturing elements closest to her heart. This approach allows her to infuse her creations with her distinctive sensibility and personal narratives.

SeNa Hwang expresses emotions of loss and anxiety through a symbolic figure—a child with empty eyes. The vacant pupils and sharp whites of the eyes imply complex inner emotions and the possibilities that lie beyond. To articulate and clearly convey these feelings, the artist employs the simple contrast of black and white through the medium of charcoal. The process of drawing and smudging charcoal lines repeatedly resembles the human journey of experiencing wounds, healing, and self-discovery. The work begins as an outlet for suppressed emotions and gradually expands into an exploration of self-understanding and acceptance. The light and shadow within SeNa Hwang's compositions transcend mere visual elements, offering an experience of self-awareness and deep introspection. This reflects the artist's attitude of caring for and healing oneself through affection for others. Her works convey more than visual beauty, inviting viewers to share in the journey of self-discovery and growth amid loss and anxiety.


Juli Baker and Summer (Chanaradee Chatrakul Na Ayudhya) is a dynamic Thai artist, writer, and traveller whose work bursts with vivid, almost abstract colour palettes that evoke the warmth of summer. Her emotive brushstrokes create a rich narrative of her observations and experiences—from personal memories and everyday conversations to her travels and favourite books. Each piece is a page from her visual journal, blending pop culture, politics, and social commentary. Juli Baker and Summer also infuses her writings with snippets of her own handwriting, illuminating her dual identity as a storyteller and diarist.

Park Cheol-ho was born in Jeongeup in 1975. All of his creative stories are connected to form a worldview. Each story captures a moment in the personal history of human culture where complex emotions intersect. He determines the achievement of his work by the length of time the audience stays in front of his work. He does not unilaterally convey the artist’s story but seeks a communication method. The most important thing for the author is humor. Self-taught artist Park covers various media, including fiction, playwriting, painting, photography, video, film, sculpture, installation, and performance.

IMPRESSIVE INFLUENCE URINATE OF DUCHAMP

Through meticulously balanced images that encourage prolonged attention, Sugimoto’s work focuses audience consideration on the ways in which humanity makes sense of itself. Sugimoto moved to Los Angeles in 1971, receiving his BFA from the Art Center College of Design in 1972. In 1974, he moved to New York, and became involved in the Minimal and Conceptual art scenes of the late 1970s. His best-known series, including Dioramas, Theaters, Seascapes, Portraits, Architecture, Conceptual Forms, and Lightning Fields draw heavily upon repetition, unifying disparate locations through shared compositions, and are characterized by use of long exposures, black and white film, and analog processes. In recent years, Sugimoto has begun to design architectural spaces that, like his photographs, use simplicity of form to focus attention on the mechanisms through which we understand the world.  

Sugimoto has had solo exhibitions at the National Museum of Contemporary Art in Osaka (1989), the Museum of Contemporary Art in Los Angeles (1994), San Francisco Museum of Modern Art (2000), the Guggenheim Museum Bilbao and the Neue Nationalgalerie in Berlin (2008), among many other venues. He has received many honors, including the Praemium Imperiale Award for Painting, Tokyo in 2009 and Officier de L’ordre des Arts et des Lettres, in Paris in 2013. In 2017, he was honored as a Person of Cultural Merit in Tokyo. His photographs are in the collections of the Metropolitan Museum of Art, New York; Museum of Modern Art, New York; National Gallery of Art, Washington, DC; San Francisco Museum of Modern Art; Tate Gallery, London; and many others.

Ed. 4/25, 5AP

Ed. 3/25, 5AP

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.

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. 

Born in 1933 to an affluent family in Gaeseong, Han Youngsoo showed artistic talent from a young age and pursued photography as a hobby. After his military service in the Korean War, he became a member of the Shinsunwhue (New Line) group, an association of realist photographers who championed “everyday life photography.” In Seoul, they documented the resurrection of the city in the late 1950s and the social realities of the Korean people. South Korea’s economy saw explosive growth in the 1960s. In 1966, Han founded his photography studio, Han’s Photo, which pioneered the country’s advertising and fashion photography industries.

Han went on to take leadership positions in numerous photography associations and cultural institutes. In 1987, he published Life, a photography book that compiled historic scenes of Seoul in the aftermath of the Korean War. After his passing in 1999, his daughter Han Sunjung established the Han Youngsoo Foundation to promote Han’s legacy and preserve the estate of his negatives and other archives. The Foundation has garnered international recognition for Han’s photographs. His works were included in the Les Rencontres d’Arles (2014), and he has held recent solo exhibitions at the International Center of Photography in New York (2017), Baik Art Gallery LA (2018), and Harvard University Asia Center (2019). Han’s work has been included in groundbreaking international exhibitions such as The Space Between: The Modern in Korean Art at the Los Angeles County Museum of Art (LACMA) in September 2022.

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. 

Jina Jung creates paintings and new media art that alter the invisible properties of changing water, wind and other elements in nature. She completed master's degree in the Interactive Telecommunications Program (ITP) MPS at New York University's Tisch School of the Arts. The artist takes photos of nature or collects such images from the web and stores of VR and 3D space software, then renders them into unrealistic sceneries in VR or video works. She then reassembles the flattened objects, or the visible and penetrable scenes seen in the virtual space on a canvas as a painting. Through the process of transforming and capturing a space that actually exists into an unfamiliar image, she provides an opportunity to consider the logic of subverted nature.

Born in 1983 in Taipei, the artist graduated from Taipei National University of the Arts, majoring in Fine Arts. His early works focus on portraiture through erasure and alteration, offering a personal emotional interpretation of everyday social relationships. Recently, his work has explored narrative methods and stylistic models established in various periods of art history, using classical painting techniques to piece together, simulate, and reshape images that evoke the fantastical feel of a stage play. Through the language of painting itself, he seeks to examine the tangible and intangible distances between viewer and artwork, as well as the gaps and discontinuities in Taiwan’s reception of Western art, shaped by historical and cultural contexts.

In 2008, he held his first solo exhibition, “Days Like These,” at Dynasty Gallery in Taipei. His works have received the Taiwan New Art Award, the Kaohsiung Award, and the 2005 Young Artist Award, and are part of the National Taiwan Museum of Fine Arts collection. Recent exhibitions include Taipei Art Fair, Instinc Art Space in Singapore, Eslite Gallery in Taipei, and Aki Gallery.

For Moonhee Cho, the series of photographic works are both a process and a result of pusing ‘resemble’. ‘Resemble’ creates a gap skimmed from reality, making one revisit the place glimpsed at first sight. The landscape that was once passed by reveals a dramatic presence in a form that was never reached, even in places that were numb, different from the afterimage left in the mind. Following the image in the landscape, she visualizes the conflict stemming from ‘resemblance’.

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