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

Soyoung Seo is an artist who converts figurative components into abstract images. She recently worked in several fields, including graphics, painting, and design, and combining illustration with NFT works. She develops her work in the form of collages, pursuing the unique atmosphere formed by the collision of unrelated places and objects, and is fascinated by humans' raw and unrefined emotions. Since she describes her work as a series of daydreams and investigations, she allows the audience to join the beautiful and unstable realm of dreams and unconsciousness that we lose as we grow older, providing a vibrant world of inner sensations.

Warawut Tourawong currently holds the position of an Assistant Professor in the Faculty of Painting, Sculpture, and Graphic Arts at Silpakorn University. He began creating lifelike figurative paintings that aim to convey meaning through surface characteristics, reflecting objects that influence humans through clothing imagery and the expressions of individuals.

Salvo was an Italian Conceptual artist that transitioned from producing austere sculptures to painting richly colored depictions of the Italian countryside. Born Salvatore Mangione on May 22, 1947 in Leonforte, Italy, he became associated with artists of the Arte Povera movement during the late 1960s, meeting Alighiero Boetti, Mario Merz, Gilberto Zorio, and Guiseppe Penone, while living in Turin. Originally achieving recognition for his text-based works—which consisted of his name or a tombstone for himself—Salvo began painting in 1973. Characterized by simplified forms reminiscent of the early Modern avant-garde. These dream-like scenes like are reminiscent of the Italian Metaphysical painter Giorgio de Chirico. In 1977, the Museum Folkwang in Essen, Germany gave the artist his first retrospective. He died in Turin, Italy on September 12, 2015 at the age of 68.

Chris Measor, born in Ottawa, Canada in 1984, graduated from the Musashino Art University in Japan. He has participated in numerous group exhibitions both domestically and internationally, including two solo exhibitions in Thailand and South Korea. Based in Busan, he continues his artistic endeavors and is an artist whose international career is highly anticipated.
Chris Measor expresses various themes in his work, including European mythology, satire, philosophy, history, politics, and film, by anthropomorphizing animal characters. The animal figures in his works, such as cats, dogs, and rabbits, serve as engaging mediums that attract the audience's interest and guide them through the narrative. By using animals as motifs, the artist avoids potential biases that might arise from depicting human characters, where aspects like race, class, and age could distort the essential meaning he intends to convey. He aims for viewers to immerse themselves in the storytelling without preconceived notions. The artist encourages a reflection on the everyday characters that might be overlooked and hopes that each character in his works represents the protagonists of life, inviting the audience to explore their diverse stories. He creates a layered base on wooden panels using gesso and sanding techniques, applying acrylic gouache and acrylic ink to achieve depth and detail in his artwork.

Molly Greene is an American painter who lives and works in Los Angeles, California.
Before devoting herself to art, she spent ten years studying. In 2013, she received a Master of Environmental Science (MESc) degree from Yale University. In 2019, she completed a PhD in American Studies, also at Yale University. During her many years of study, she focused on a variety of topics such as gender and sexuality, post-humanism or animal studies, among others.
She began exhibiting her work as an artist in 2018 in the United States.

Be Takerng Pattanopas
(b. 1965, Thailand)

Be Takerng Pattanopas ’s practice emerges from twin obsessions with space within and space without. His exploration of the human body’s interior, through drawings, installations, paintings, and sculptures, symbolises the infinity of the cosmos. This might be a distinctly 21st-century preoccupation – the zeitgeist of this age as our world seems both smaller and bigger than ever.

The artist has suffered complex health issues with benign tumours in adrenal and pituitary glands. This is addressed through hybrid forms that play with symbolizations of voids, microscopic invasions of the body, and also tunnels and monoliths. The latter motif was inspired by Stanley Kubrick’s famed film 2001: A Space Odyssey, based on the sci-fi novel by Arthur C. Clarke. All the elements are precisely orchestrated by the artist so that the viewer’s experience is strangely ambiguous, or meanings appear perpetually in flux as they contemplate expansive metaphors of self.

Pattanopa’s completed a Ph.D. (Fine Art) at Cheltenham & Gloucester CHE in the UK. Solo exhibitions include Space of 25 Light Years (JWD Art Space, Bangkok, 2021); The Nerve That Eats Itself (Gallery VER, Bangkok, 2018); What I Don’t Know That I Know (H Gallery, Bangkok, 2013); Compulsive Orders (Tally Beck Contemporary, New York City, 2011); and Permanent Flux (GMT+7, Brussels, 2009). Commissions and group exhibitions include GAP the Mind (2012), i Light Marina Bay (Singapore); and SPECTROSYNTHESIS II– Exposure of Tolerance (Bangkok Art and Culture Centre, 2019-2020). He is the Director of the Communication Design Programme (CommDe) at Chulalongkorn University in Bangkok.

Danh Vo examines how cultural values, conflicts and traumas are constructed and inherited through work inspired both by his own experiences as well as historical and political events. When he was a child, Vo’s family fled Vietnam and settled in Denmark. His family’s assimilation to European culture and the political events that precipitated their flight from Vietnam are intertwined in his artistic practice; Vo’s work illuminates the interwoven strands of private experience and collective history that shape our sense of self. Using both historically rich readymade objects and personal details that directly and indirectly touch on his own life experiences, Vo examines the larger implications how meaning changes with context, as well as how objects accumulate symbolic weight.

Richard Prince is a contemporary American artist, widely recognized as a pioneer of Appropriation Art. His work is characterized by taking existing images, transforming or recontextualizing them, and thereby assigning new meaning to them. This method particularly involves the use of media, advertisements, and images from popular culture, often sparking debates over authorship, copyright, and originality. Despite the controversy, Richard Prince has achieved great success in the contemporary art market. His works have sold for high prices at auctions and have been exhibited in major museums and galleries around the world. Notably, his pieces are part of the collections at institutions such as MoMA and the Guggenheim Museum. Through appropriation, Prince continues to challenge the boundaries of copyright and creativity in contemporary art. His works go beyond merely borrowing images, offering deep insights into how images are consumed and interpreted.

Born in Seoul, South Korea, the Korean-American Artist Joohyun Kang has been active in artistic activities, traveling between New York and Korea, after completing a master's degree in printmaking and Western painting at Pratt Institute in 1993. Through her work, the artist aims to portray the process of living an organic life within the perception that humans are limited beings, looking at nature as a medium of expression. When viewing the journey of life through nature, the artist depicts the desire to live, endure, and integrate, similar to how nature repeats creation and destruction amidst change and resistance. By incorporating conscious and unconscious dots and lines into her work, like the unexpected encounters and events that happen in life, the artist creates a process where the generated spots collide, overlap, and achieve balance, revealing landscapes and nature. The images of these landscapes are visualized through the association of memories, whether they are scenes observed in reality or landscapes that exist in dreams or the inner self. The small units that form the paintings are abstract, drawn with numerous layers that cannot be fully grasped up close, but when viewed as a whole, they become landscape paintings. Joohyun Kang's landscape paintings, which possess both abstraction and unique atmospheres, exist simultaneously as abstractions and representations.

Panuwat "Pay" Kamdee, born in 1999 in Chiang Mai, Thailand, pursued his studies in Fine Arts at Silpakorn University, Bangkok, where he cultivated a unique style that merges traditional Thai art forms with modern techniques and natural pigments. His work often explores the concept of a societal harmonious allegory, symbolizing ideals of unity, balance, and peaceful coexistence. Drawing from Thai mythology and folklore, Pay expresses these themes in a surreal, dreamlike style, presenting accessible and playful pieces that resonate with audiences. His work reflects his childhood memories, making his art both nostalgic and relatable.

Pay has exhibited extensively both in Thailand and internationally, earning acclaim for his innovative approach and thoughtful exploration of environmental and social issues. His art subtly addresses these concerns, inspiring audiences to recognize the depth of his work and its connection to Thai cultural identity. He has also participated in various community art projects, using his platform to promote sustainability and cultural preservation.

Danielle Lin (b. 2001) graduated with a Diploma in Fine Arts from the Malaysian Institute of Arts (M.I.A) in 2021 and quickly made a mark on the Malaysian art scene. That same year, she won the grand prize in Bakat Mahasiswa, a notable competition hosted by M.I.A and the National Art Gallery, establishing her as a rising talent. Known for her unique, allegorical style, Danielle’s work employs indirect, cynical, yet humorous puns to reflect life’s contradictions, often using cute characters to create a visual irony that resonates with audiences. Her exhibitions and curatorial work have further strengthened her influence, marking her as a voice of her generation.

In her recent solo exhibition, The Age of (Un)Innocence, Danielle explores the complex transition from childhood to adulthood, capturing the bewildering shift where once-stable truths become uncertain. The series examines young adults' awakening to a world where even respected figures face setbacks and opportunities often come through connections rather than merit. Through these works, Danielle encourages viewers to question societal norms and the reliability of surrounding structures, presenting a reality as whimsical yet unsettling as a child’s dream. Her insightful blend of humor, introspection, and social commentary has solidified her presence in contemporary Malaysian art, appealing to audiences through a fresh perspective on modern life.

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

Pawarisa wangkhomfu was born and raised in Phayao. She graduated with a bachelor’s degree from the faculty of painting, sculpture and printing, Silpakorn University. She had participated in Portrait Prize exhibition in 2023 and Being human exhibition in 2019. Moreover she had participated in Art Busan, an international stage in 2024. She has solo exhibition “Younger Dryas” in 2023 and "Human Behaviour" in 2024.

Disorn Duangdao (lives and works in Kanchanaburi, Thailand) focuses his interest on the situations that arise from his surroundings, including the use of raw materials derived from the experience of overlapping and parallel contexts of ambiguity and reality. His practice involves a combination of constructing sets of symbolic language within objects and finding meaning within twisted structures. Disorn’s aesthetic opens up a diverse dialogue ranging from nature, society, and politics, to history, all under the realm of an exchange area for reform and reconstruction.

Summer Kang continues to explore emotions she wishes to remember by translating them into characters and narratives. Working across various mediums such as illustration, painting, webtoons, and animation, she gives visual form to feelings. She is also the creator of RAINBOW, a Kakao Webtoon series that tells a love story between a blue-suited hero and an ordinary girl.

Kang pays particular attention to the qualities of water—its fluidity and sensitive responsiveness. Just as a gentle ripple grows into a wave with a passing breeze, emotions too begin with subtle movements and gradually expand. Water absorbs the colors of its surroundings, freezes in cold, and cools in heat; in the same way, emotions continuously shift depending on the environment and situation. Her work captures these traits of emotion in visual language. She transforms emotions, scents, songs, and fragments of writing into characters, embodying the unseen yet undeniably present colors and movements of feeling. Summer Kang’s work becomes a delicate language of empathy, offering viewers a quiet but profound resonance.

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


Since returning from Japan, AeGoh has passionately showcased the uniqueness of her painting through five solo exhibitions, beginning in 2016. Notably, from 2017 onward, she has cultivated a distinctive artistic realm by establishing her home in the heart of a serene forest, where she creates semi-abstract works that embody the vibrant colors of nature. The artist perceives her family, everyday individuals, plants, animals, light, wind, and still life as equitable beings that engage and coexist within nature, capturing the shared rhythms of life on her canvases. AeGoh's work originates from her personal narratives but expands into universally relatable expressions of life through simplified forms and harmonious color combinations viewed from a liberated perspective.

Using the traditional techniques of Buddhist art, he has been working to address various contemporary narratives by utilizing his own ‘minority’. His works combine narratives from his personal experience with religious and queer narratives, and through the various contradictory questions that emerge from this process, he asks essential questions about the dichotomous concepts of minority and majority that constitute contemporary society.

Zhu Jinshi, born in 1954, is a pioneer of Chinese abstract art and installation art. He began to create abstract paintings in the early 1980s and moved to Berlin in 1986. Since then, he has been experimenting with performance, installation, and conceptual art. In 1994, Zhu returned to
China, dividing his time between Berlin and Beijing until 2010. At present, he lives and works in Beijing.
Looking back at Zhu Jinshi’s art practice over the past forty years, abstract painting and conceptual installation are two practices that parallel each other while sometimes being confrontational. Zhu started his career with abstract painting, but while his installation practice stands alone from his
painting practice, it has also inspired new forms of painting. Only when the two are viewed together can the striking aesthetic value of Zhu’s works be touched.
Zhu Jinshi’s paintings were first influenced by modernism. Three of his works were exhibited in China’s first avant-garde exhibition, the Stars Group Exhibition, in 1979. As one of the first Chinese artists to create abstract art, Zhu initially experimented with random brushstrokes and
limited colour to create abstract paintings. He gradually developed his unique “thick painting” style that he still uses today, which is usually applied with heavy colour and thick paint.

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