Kitty Kaburo (b. 1987) is a Filipino artist of Korean descent. She works with various traditional and non-traditional mediums, incorporating each of their peculiar properties to simulate transformations and effects of time, the elements and human activity on our environments, communities and planet. Shegraduated from the University of the Philippines’ College of Fine Arts in 2015, receiving an Outstanding Thesis award and a series of videos has been shortlisted for the Ateneo Art Awards in 2017. Aside from the Philippines, she has also exhibited in varied locations, including Indonesia, Taiwan and South Korea.

Toshiyuki Shibakawa developed an installation of "Excavation site 2000 years later" and recently produced (fossil) type artifacts excavated from there. They not only exhibit individual works but also exhibit various things (Archaeo- logical materials, works of art, antiques, relics, goods, etc.) in collaboration. They hold exhibitions and projects that focus on the region and place such as museums in Japan and overseas, historical buildings and shopping streets. At the same time, they hold workshops for a wide range of people, and continue their activities to reexamine the existence of things and contemporary problems.

LeeEu removes all figurative elements to focus on the materiality of the medium. The artist invites us to a sensitive and highly pictorial experience. We stroll through the fundamentals of painting: gesture, material, color. Sometimes the fleeting image of moss, of furrows dug by the wind. But soon, pure pictoriality takes over in the pleasure of colors and the overflow of elusive materials moved by an internal and mysterious movement. It was during her time as a fine arts major student at Hongik University (Seoul) from which she graduated in 1999, that she learned from the great masters of Dansaekhwa, a Korean non-figurative painting movement born in the 1970s. LeeEu’s love for the fine arts was cultivated and fostered through this experience and is still prominent in her work today. She arrived in France in 2003 and attended the school of decorative arts (École des Arts Décoratifs) in Strasbourg. In 2007, a diploma in hand, she entered a 16 months residency at the Cité Internationale des Arts in Paris. Having these new experiences, as well as encountering artistic movements such as Supports/Surfaces, allowed the artist to broaden her artistic horizons.

Étienne Hajdú was a Hungarian-born French sculptor. After emigration to Paris in the '1930, he became a part of the Hungarian circle of artists and writers. He fought in the French Resistance during World War II.

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.

Phichai Keawvichit (b. 1975) is a talented photographer characterized by his minimalist photography of architecture, gaining a reputation from his Instagram with 80,000 followers and interview articles by several media. He presented many photography exhibitions in several locally famous photo galleries such as Accidentally Professional Exhibition (2019) in Silpa Bhirasri’s House, Unlock solo exhibition in 2019 at River City Bangkok, Urban Progress group exhibition in 2021 at Bangkok Art & Culture Centre, and this latest one The Memoir of Movement in 2022 at River City Bangkok is regarded as his second solo exhibition. Aside from photography, Phichai loves writing to share his insightful stories. He is currently the ‘Ekaphab’ columnist publishing his articles in Matichon Weekly.


After working as an architecture 3D renderings in Japan, he moved to the United States and started working as an artist in New York. He creates characters called Poi in sculptures and paintings, and installs them in various places in the city. When he sees the installation locations on a map, he places them in the shape of Poi. “Poi” means “Path of Imagination”. The artist's wish is that everyone in the world can live in harmony so that everyone can smile. The Poi placed throughout the town heals and encourages the hearts of those who meet them, like Jizo statues on the roadside.

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.

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.

Channing Hansen was born in 1972 in Los Angeles, USA. His knitted works tread the line between painting and sculpture with their web-like construction occasionally revealing the stretcher behind.
Their relationship to craft may initially seem to be at odds with the scientific concepts informing the algorithm. However, bringing these two disciplines into dialogue allows Hansen to explore the tension between chaos and order, as the artist’s hand introduces human variability within
an otherwise programmatic composition. This is evident in the forms his textiles evoke, which might resemble tendrils of DNA, crystalline structures, or biomorphic shapes.

KANG Cheolgyu (b.1990) depicts narratives of a fictional world with a realistic touch. The mysterious otherworld within his canvas is a landscape that metaphorically projects his own reality. People and animals in exotic nature, symbolic events, each are closely related to his emotions and psyche. The black sphere that appears in Enemy (2023) represents a physical manifestation of complex emotions that are difficult to handle, such as anxiety, compulsion, expectation, delusion, disappointment, and depression. The artist's reality is sometimes perceived as overwhelmingly helpless, like the Big One (2023), which remains unflinching even when struck by a decisive spear. In Hunting Diary (2023), a figure who prepares raw meat from the wild for survival is depicted as an incompletely segmented body or self-divided into several people.




KANG Cheolgyu was born in Gimcheon, Korea in 1990. He received his BFA in Painting and MFA in Fine Arts from Hannam University. He has held solo exhibitions at Chapter II (Seoul, Korea, 2022), M2 Project-room at Lee Ungno Museum (Daejeon, Korea, 2021), Artist Residency TEMI (Daejeon, Korea, 2020), Gallery Gabi (Seoul, Korea, 2017) and more. He has participated in group exhibitions at ARARIO GALLERY SEOUL (Seoul, Korea, 2024), Doonamjae Art Center (Seoul, Korea, 2023), Gallery Baton (Seoul, Korea, 2022), Daejeon Museum of Art (Daejeon, Korea, 2021; 2018), Galley Gabi (Seoul, Korea, 2017), Gallery Gwang, Sejong Center (Seoul, Korea, 2015) and more. He was the artist-in-residence at the Artist Residency TEMI (Daejeon, Korea) in 2020 and the Studio White Block (Cheonan, Korea) in 2023. His works are collected by institutions such as Seoul Museum of Art, National Museum of Modern and Contemporary Art’s Art Bank, Daejeon Museum of Art.

Anniketyni Madian (b.1986) is a Malaysian artist celebrated for her contemporary wood sculptures, which draw inspiration from her Iban heritage. Born in Sarawak, her connection to traditional art forms and indigenous craftsmanship is deeply embedded in her work. After graduating from Universiti Teknologi MARA (UiTM) with a focus on sculpture, Anniketyni honed a unique style that blends modern aesthetics with cultural motifs, particularly the traditional pua kumbu patterns. Her intricate woodwork has earned acclaim for its craftsmanship and cultural resonance, offering a fresh perspective on Malaysia's artistic identity and heritage.

Anniketyni’s work has been showcased in major galleries and exhibitions, both locally and internationally, positioning her as a significant figure in contemporary Malaysian art. Her innovative use of wood and her dedication to preserving indigenous art forms have inspired a new appreciation for Malaysian heritage within modern art. By incorporating cultural narratives into her sculptures, she challenges viewers to engage with Malaysia’s rich traditions in a contemporary context. Anniketyni's influence is profound, as she bridges the gap between tradition and modernity, encouraging younger Malaysian artists to explore their cultural roots in innovative ways.

Sanggyun Lee is an artist who maintains a continuous interest in civil engineering structures through field research, converting three-dimensional architecture and spaces into two-dimensional paintings. Memories of his father, who worked in civil engineering during his childhood, have greatly influenced his work, serving as a crucial link in his art.

The images of structures that appear in his work are abstracted through a process of reduction to a consistent compositional framework. He believes that, among the spaces humans inhabit, the land particularly represents various aspects of humanity. Capturing the longstanding human desire for urbanization and the pursuit of subjectivity and spatiality, he simultaneously embodies the role of an observer, depicting the immobility of civil engineering construction sites. He applies construction tools such as trowels, plastering knives, and ink lines to his paintings, creating them with a constructive attitude.

In 2022, he was selected as an artist-in-residence at the Paris Lee Ungno Residence, where he worked to document his artistic identity and discover the human narratives of previous generations. During this period, he participated in various international exhibitions, expanded his artistic perspective through interactions with artists worldwide, and drew inspiration from the unique culture and historical background of Paris, adding depth to his work. This experience significantly contributed to his artistic growth, which is clearly evident in his subsequent works. Currently, he continues to create new works based on these experiences, pursuing his artistic exploration.

Glen Wilson's multi-disciplinary practice is comprised of photography, sculpture, filmmaking, installation, and assemblage. Provoking questions around voice, visibility, and cartography, Wilson’s works suggest fluid narratives of place, diaspora, cultural heritage, and the intersections of individual and communal identity. Wilson received a B.A. from Yale University, New Haven, CT and an M.F.A. from the University of California San Diego. Recent group exhibitions include the Getty Center, Los Angeles; California African-American Museum, Los Angeles; the Museum of Contemporary Art, Los Angeles, CA; Honor Fraser, Los Angeles, CA; Charlie James Gallery, Los Angeles, CA; Quotidian, Los Angeles, CA; Torrance Art Museum, CA; Eastside International Los Angeles, CA; and the Los Angeles Municipal Art Gallery, CA. Wilson spent a year as a research fellow at the New York Public Library’s Schomburg Center for Research in Black Culture, Harlem, NY.

The characters that form the motifs of my work are common images that I have created. They are given a writing order and symbolized, and the process of preservation and change in the repetitive writing is established in the work as several afterimages, like time-lapse photography. Whenever the viewer sees a character that he or she does not remember, the difference between his or her memory and the work is evoked and referenced to the character in his or her memory, and this process reconstructs the work as a painting with intensity. The work also serves as a device to strengthen the connection between the viewer and the character with feelings of "I don't understand" or "What is this?", and as a record of a living person, not only as a work of art, but also as a portrait with an aspect as a recording medium.

Tewaporn Maikongkeow. is the artist who hove always created magnificent orts. He 
graduoted bachelor's degree from Bangkok university and his master degree from painting. 
the faculty of painting. sculpture and graphic arts. Silpakorn University. He has exhibited 
many solo and participated group exhibitions continuously in both domestic and 
international stages such as Art Busan 2024. Art Expo Maloysia 2019. Art Fair Philippines 
2020 and Art Central Hongkong in 2019

based in Chiba. The theme of the complex emotions and instability of young people is expressed through their hesitation and frustration as their humanity. Kimura believes that emotions, which can be seen as negative, sometimes cause people pain, but at the same time give them a sense of being alive. LOST BOYS, one of his best-known works, depicts just such moments.

In her paintings, Prae Pupityastaporn produces layered continuums of observation and memory. She draws from the overlooked minutiae of daily life, building an illusive catalogue of her material surroundings. Deftly extracting from the latent and the mundane, Pupityastaporn transforms seemingly dull objects into active deposits of evolution: a showerhead, a wall or a rock acquires mercurial ability in her works, storing shifts of the emotional and the environmental. Intertwining streams of the subconscious, Pupityasporn offers dreamlike insight into the flux and fragility of memory, both personal and shared. Most influenced by her physical environments, Pupityastaporn synthesises her experiences in Germany and Thailand. During her studies in Germany, she was exposed to reinventions of the landscape genre in the region’s early contemporary art scene; the artist has since followed her predecessors in creating a pioneering visual vocabulary, establishing a distinct approach of distanced liminality. Her paintings demonstrate the shifting possibilities of shared emotional fabrics, proving how each of our complex internal states can color perceptions of the external world. She awakens a unique set of memories and feelings in each viewer, and quietly transforms those associations once again in her practice of retrieval and repatterning.

AhHyeon Lee materializes the unreal world created from the perspective of insects into physical space. After receiving her bachelor's degree in Painting from Kyung Hee University, she continued a master's degree in Painting at a graduate institution. She has communicated with the public through her works with shifting gaze and dreamlike colours that transcend the two-dimensional and three-dimensional since her graduation. The artist began her work by considering the invisible or unrecognized vision in today's visual environment and raises the issue of the incompleteness of 'seeing' as we perceive its contents. She eliminates the human subject and creates a symbolic representation of the insect's gaze through painting, crossing the tension that results from the world of insects being repeatedly created and destroyed by others, as well as the feelings of disgust and dread of insects from a human perspective. In her investigation of insect traces, she examined and experimented with the physical characteristics of mediums and invited viewers to enter an imaginary environment.

Lilac Girls

Twin Fates

Appearance II.40210206 (Kewpie Doll Fossil Excavated 2000 Years Later)

Appearance II.40220210 (Kewpie Doll Fossil Excavated 2000 Years Later)

Appearance II.20191036 (Canvas Fossil Excavated 2000 Years Later)

Peinture en question

Matière paysage 

Gribouilis 

Matière paysage

Étienne Hajdu

Waves of Morning Glow

White River

Snowy Reflection

The Waves of Dawn

Dawn light on the waves

A romantic place 1

The Door Towards There

Here

While Pausing for a moment #1

The Blue Water Gazed Into

A Line Brushing Over the Icy Surface

Embrace, Dwell, Immerse: The Grain of Welcoming

Embrace, Linger, Absorb: The Texture of Rest

Refreshing Waves

Wave of Afterglow

Along the waves 2

Floating in the Dawn Light

Merged Horizons

Along the waves 1

The Path to the Beach

The color of waves : Blue

The color of waves : Mint

Two people walking along the beach

Our days 6

A Leaf Reflected on the Waves

Autumn shade

Our days 5

Our days 3

Our days 2

Waves between the long leaves

Between leaf

A cool and warm island

Shimmering waves #2

Tails of water 2

Sway Notes: glide

Essence of the Wave

Offing 4

Offing 3

Offing 2

Offing 1

Wings Over the Waves

Sea in the Morning Breeze

Memoir No. 11

The Memoir No. 1

Memoir No. 2

Memoir No. 3

Memoir No. 4

Memoir No. 5

Memoir No. 7

Memoir No. 6

Memoir No. 8

Memoir No. 9

Memoir No. 10

Memoir No. 12

Memoir No. 13

Memoir No. 14

Memoir No. 15

Memoir No. 16

Memoir No. 17

Memoir No. 18

INNER UNITY

F$CK

Nodeulseom, Seoul, Korea 1956

Myeong-dong, Seoul, Korea 1956-1963

Namdaemun, Seoul, Korea 1956-1963

Still Table

Dalmatian

Still life

Nostalgia

With the Flower

Pattern 2

Pattern 8

Fishing for Dinner

Her Beauty and the Moonlight

Fragments XS #15

Fragments XS #12

Fragments XS #13

Spillway Strong Current Part

Spillway strong current part

Untitled

Spillway clear well part

L-shaped retaining wall catch pit

Bridge slab, coping

Box culvert exit channel

Intake tower

Embankment coarse straw mat mulching work

High voltage electric pole

Bridge wing wall

Bridge pier

Spilway strong current part

Underdrain

Underdrain exit part

Falling stone net

Bridge slab

Bridge

Untilted

Embankment

Irrigation canal

Bridge rails

Completion monumental masonry

Low Water Revetment Riprap Works

Aqueduct Bridge

Box Culvert Exit Channel

Spillway control section

Tunnel

Revetment riprap

Oil storage tank

Spillway Grout

Signboards

Bridge Slab

Bridge expansion joints

L-shaped retaining wall

Abutment

Stele with bridge-name plate

Spilway grout

Spillway grout

Continuous slab bridge

Reinforced Earth Wall

Equivalents (Ethereal Observation #1)

Element Series No. 2 (Origin)

Traveling

Tidescape (Pacific Frequency #2)

Wavelength Constellation #2

Wavelength Constellation #1

Resonant Alignment (An Elliptical Pull)

Study_for_Null_Portr ait of someone#138

Study_for_Null_Portrai t of someone#205

What to see in repeated portraits #029

Help!

Production No.67

untitled(0717)

Positive Energy

Wishful Thinking

Nachmittag

I see the Island

Terrarium

Seaview 02

Walk in the Park

Waiting outside

Dejavu

Sea 01

Empty Word

Up and Above

State of Contentment

A proper position of an early afternoon

Calming scenery

Morning has dawned

Cave in a cave

Looks like the wilds, but it is the core

A peaceful land

Pretty soft exterior

Passing through the silent air

A proper position of a late morning

We are repeating this situation

World without fantasy

Living in an exposed place

We must see a rainbow!

Shouting in silence

Standing at attention to everything

Approaching rubbing sound

Area that Is Not Invaded

Loud as It was a Lie

A thing that disappears suddenly and appears again

Marketplace

Exhibitions

3D On View

About

EN
$

Marketplace

Exhibitions

3D On View

About

My Page

Featured Artists on Artue