Bang Soyun's art begins with disrupting the hierarchy between the digital and physical worlds. Considering that the things existing in the digital world and the states they form are generally defined by the term 'virtual reality,' it may seem as though the physical world holds superiority in terms of reality. However, as a digital native, Bang freely navigates between the digital and physical worlds, accepting experiences in both realms as equivalent realities. Various experiences intertwine and influence each other, constantly shaping the artist's identity.

Focusing on sensorial experiences where the distinction between reality and virtuality fades away, Bang creates virtual digital entities and brings them into physical reality through her work. Initially, she implemented simple forms of animals, plants, or objects, but recently, she has been exploring concrete human figures as sensory receptor perceiving the world.

Her works exist in various material or immaterial forms such as paintings, videos, and even augmented reality (AR). Through 3D modeling software, she visualizes different independent narratives and reproduces them in various ways into multiple forms. In her painting, the most crucial factor is the physical properties of materials and the profound experience of her body dealing with those materials. In 3D programs, Bang imitates everyday reality while enhancing an alienating sensation by distorting and rearranging the properties of material experienced in physical reality. During the process of translating these digitally generated images into paintings, she employs optimized materials and techniques to maximize surrealism, rendering them as highly tangible objects. Throughout this process, the artist sensitively senses and observes her own body's interaction with the materials, which makes herself undergo continuous evolution.

When reproducing these digitally generated images in paintings, she uses optimized materials and techniques to implement unreal characteristics into physical sensations and forms, delicately sensing and observing the body handling the materials throughout the process.

Sahapap Lertsamatijit holds a bachelor's degree from Silpakorn University. He has participated in solo exhibitions with Number1Gallery Formation of Nightmare (2022), Reflections of a nightmare (2024), I AM ORIGINNAL 3 (2019), Begin Again (2020), Hotel Art Fair 2022, and participated in the international stage Art Busan 2023.

Tos Suntos
b.1992, Bangkok, Thailand

Tos Suntos (Panyawat Phitaksawan) is a Thai Artist and Designer known for his outstanding graphic design which can apply to 2D and 3D objects in unconventional style. For his professional artist, his outstanding work is he changes the visual of traditional Thai to a combination of Thai style, universal monsters. pop culture and modern art.

Since the 2014s, TOS SUNTOS has been an illustrator who created his work from surrounding culture, human lifestyle and memory of childhood. When he was young, he was interested in Sci-fi movies and monsters. Therefore, he brings all of his experience combined with pop culture and retro style to his original art works. Tos Suntos first gained international attention when he was commissioned to Adidas Headquarter as representative from Thailand.
 
Tos Suntos has embedded Thai Identity in his delightful works in the biggest Adidas shop in the center of Bangkok Thailand. His talents are expressed in painting, digital paint, graphic design, collage art and sculpture; which are full of delicate patterns, super detail and layers of art.

The internationally acclaimed filmmaker Park Chan-wook (b.1963) has demonstrated his passion for photography through a wide variety of media channels. Park questions himself the reason behind the act of taking a picture, leading audiences to contemplate the nature of photography as a medium. In stark contrast to the carefully orchestrated scenes in his films, his photographs readily embrace happenchance and the unexpected, while at the same time possessing incisive and wry humor coupled with powerful drama. As the artist describes his photography practice, coincidence and spontaneity play crucial roles in his photographs as an 'antidote' to his experiences in filmmaking. Park, who as a commercial film director would have most astutely trained the ability to capture the sentiment of the times in his works, provides us with the motive to proactively expand the realm of unexpected beauty within the most habitual scenes of our everyday life.

Scott Young is fascinated by the strange and subtle relationships we project onto objects and possessions. His paintings are contemporary reimaginings of still life and vanitas, featuring objects and motifs with charged social meanings, carefully arranged in coded dialogues. Often employing painting techniques that mimic faux marble or wood, his work hints at the artificiality inherent in our extractive relationship between nature and culture.

Kim Hanna is a painter who has lived and worked in Busan since she graduated from the College of Fine Arts at Busan ​​National University. She has depicted the life and relationship between two characters, Hanna and Rabbit which the artist's internal world is reflected by.  

She has had many solo exhibitions, including Alternative Space Loop in 2006, Arario Gallery Beijing in 2007, Arario Gallery Seoul in 2008 and 2013, and Gana Art Gallery Busan in 2017. She also completed her solo exhibitions at Seoul Lotte Hotel & Resort Gallery in 2018, and Ecru in Busan in 2021. She had her first solo exhibition in Bangkok, Thailand in 2023.

She has tried to work with her wide span of creativity. She collaborated with Uniqlo, Shinsegae Department Store, etc. She also created the album cover work for Monthly Yoon Jong Shin. In 2022, she published a Poem book with drawings with the poet Park June. 

Jonathan Hadipranata
b.1995, Surabaya, Indonesia
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As a visual artist, Jonathan Hadipranata's work is inspired by anime cartoons from his childhood. However, his work has a rather weighty concept behind it, and his child-like characters are portrayed with their mouths taped against dark and light backgrounds. These paintings are driven by his emotions and love for storytelling, symbolizing his experience and view of society in which we are often unable to speak up or be our true selves.
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In 2014, he went to the Academy of Art University in San Francisco, pursuing a Bachelor of Fine Arts in Visual Development degree. After almost two years of honing his foundational skills in the school, he has returned to Indonesia.
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Hadipranata held his first-ever solo exhibition “Hide Under the Table” in Tokyo in 2021, the show subsequently launched his career as an artist and has shown his works in other parts of the world, including the latest ones: “Rythm and Repetition Vol. 2”, Aught, (USA, 2024); “Rythm and Repetition”, Medel Gallery Shu, (Japan, 2023); “Among The Crowd”, Medel Gallery Shu, (Japan, 2022); “Proxemics”, The Waluso Gallery, (UK, 2022); and “Inmates”, Aught, (South Korea, 2021).

Grems or Michaël Eveno born in 1978 in Paris, now based in Biarritz, France. A complete artist with an overflowing energy, Grems is this kind of unstoppable artist that will always push the boundaries til the end. His two main creative tendencies, art and music, developed alongside one another, are teasing and forcing each other to more energetic production in order to always create something unexpected while keeping his well known and unique style.


Sono Moon explores the concept that nothing truly disappears; instead, things transform and endure in different forms. Her work is a poetic investigation into the "geometry of memory" and the "physicality of time."

Through her signature character, Hornelle—a being as small as a sugar cube—the artist reimagines vintage objects not merely as relics, but as expansive rooms and entire universes. For Moon, painting is the act of gifting a "room" to the viewer—a sanctuary where one can quietly linger amidst the joys and sorrows of life.

Her practice is divided into two distinct yet interconnected realms: Narrative Figuration and Material Abstraction.

In her figurative works, Moon utilizes the "Marie Antoinette Palette." These faded pastels and remnants of gold serve as a linguistic tool to bridge the atmosphere of the past with the present. Through this palette, Hornelle navigates a "Kingdom of Time," where memory fragments have solidified into a world of their own.

In contrast, her abstract works manifest time as physical substance. Using aged letters, vintage books, and historical documents—materials once saturated with human records—Moon deconstructs and layers them into architectural structures. This process is less about manipulating materials and more about the "architecture of time," where the layers, gaps, and eroded surfaces of paper reveal the traces of existence.

Ultimately, Moon’s work converges into a single, profound question: "What do we leave behind?" In her world, while we may eventually disappear, we remain through the unique spaces and stories we build.

Kama was born in 1995, is a young artist living in Saigon. Most of his practice revolves around street art, especially Graffiti. In addition to developing personal projects, zKhoa is also a founder of the Wallovers (WO) team, which is a team of young artists have same orentation, , who want to bring street art to the masses in the near future.

zKhoa's interest revolves around inner interpretations and everyday life. His works are derived from everyday material, fragmented, brought to pieces and transformed into new forms in his own story.

Graffiti works by Kama tend to have bright colors, mixing personal voices, local stories and Asian spirit in the language of street art.

Gijeong Goo’s practice begins by interrogating the conditions through which images are produced and the hidden structures that sustain them. Transforming real landscapes into digitally rendered imagery and reconfiguring them as installations in physical space, he explores the intersections of humans, machines, and nature. Oscillating between sensation and perception, reality and virtuality, structure and interpretation, his work ultimately raises critical questions about how images are constructed and perceived within today’s multi-layered visual environment.

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.


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.

Muchlis Fachri (Muklay) is a visual artist residing and working in Jakarta, Indonesia. Muklay received several awards including being named as one of Forbes Indonesia 30 under 30 (2020), 3rd place in Indonesia Art Awards (2015) and best artwork at Nalar Sensani Seni (2015) Galeri Nasional Indonesia. His solo exhibitions include Perplexity Relation at SH Artspace, Ginza, Tokyo (2020) and See Something Strange at Artotel Thamrin, Jakarta (2016). Muklay thinks collaboration is exciting because he get to meet new people.

Born in 1992, Jieun Choi majored Korean painting at Dongguk University and continued her studies at the National University of Arts in Karlsruhe. Currently, she is pursuing her artistic career in Germany. At the heart of her artistic expression is the creation of abstract images, skillfully capturing the transient and ephemeral qualities of the moment.

Choi seamlessly integrates the soft curves of her subjects with abstract backgrounds, crafting a unique visual narrative that places her characters within a distinctive and captivating realm. Through this, she delves into the intricate and nuanced aspects inherent in the linguistic and subtle nature of the human body. The artist pursues mysterious, intuitive, and sensorial expressions, skillfully capturing the inner narratives and psychological realms of her characters through the intricacies of their gaze and tension.

The artist's creative process navigates the delicate balance between abstraction and concreteness, cycling through phases of creation and destruction. She sculpts her narratives with unexpected forms and situations, elevating the tension and mystery of the characters through moments of anticipation and unwavering pursuit.

Choi endeavors to immerse viewers in an experience of intuition and empathy by infusing her characters' gestures and gazes with profound meaning. In doing so, she cherishes the exploration of boundaries between the unconscious and conscious realms, forging innovative narrative structures. Through this distinctive approach, Choi actively seeks profound engagement with the audience, persistently delving into the dynamic exchange of meaning and emotions within the realm of art.

Uji Handoko Eko Saputro (aka Hahan)
b.1983, Indonesia
 
Creates works characterized by an ongoing tussle between ‘high art’ and ‘low art’, blurring realism with decoration. His works illustrate a point of contact that exists between urbanization and agrarianism or between the local and the global that both critique and admit complicity with the structures and mechanisms of the commercial artworld. Indeed, themes of rejection and success are present throughout Hahan’s practice, which spans painting, sculpture, drawing and print-making. These works offer an insight into the psyche of a post-boom South-East Asian artist navigating the complexities and challenges of an expanding global art world.

In recent years, he has attempted to display an art with the concept that emphasizes on the interaction with the visitors and relate it with the development of art in global as well as its society. Based on his grounded interest in the realms of value, time and speculations, Hahan lays his nonpareil craft by showing a metaphorical atmosphere yet full of satirical humor. He would then elucidate the mapping of production / consumption matter of cutting-edge art market and its gleaming, and also the ironies which are then packed with alluring spirit of artistic exploration.
 
He was also one of the founders of Ace House Collective, a young artists’ collective and initiative space based in Yogyakarta . Ace House Collective is an artists' collective that works with communities and their networks in running a space as a youth art and culture laboratory. Established in 2011 on self-funding, this community strives to support and develop the potential and the contribution to the latest art practices by providing a platform for productions, dialogues, and collaborations through assembly forums and exchanges.
 
He has participated in numerous group exhibitions in Indonesia and abroad, such on Contemporary Worlds: Indonesia National Gallery of Australia, Canberra 2019, NGV TRIENNIAL 1st 2017 Melbourne and APT 7th 2012 Brisbane. His art works have been being collected by several art museums like Queensland Art Gallery of Modern Art (QAGOMA) Brisbane, National Gallery of Victoria (NGV) Melbourne, National Gallery of Australia (NGA) Canberra, Art Gallery of New South Wales (AGNSW) Sydney, Museum and Art Gallery of the Northern Territory (MAGNT) Darwin.

Dong Hyuk Lee explores the spaces and objects that once reflected people’s beliefs and origins, but at some point were abandoned and have come to wither away. Lee imbues his experiences and memories onto various objects such as chairs, glasses, pianos, and crosses that have been left in ruins and paints landscapes and portraits that emerge from the stories he gathered on these objects. As such is his process, the space and objects he captures first reveal the artist’s beliefs and subjective rendering. On the other hand, Lee has experimented with and immersed himself in various compositional elements such as symbolic figures, signs, and colors in the pictorial dimension so that his work is not composed solely of the subjective. Continuing this artistic exploration, his recent works embody the act of “seeing” itself, which reflects the artist’s will to examine the multi-layered nuances of the operation of recognition and identification of the object’s significance within the methodology of painting.

Atom (b. 2000, Bangkok, Thailand) graduated with a Bachelor’s degree in Painting from the Faculty of Painting Sculpture and Graphic Arts at Silpakorn University in 2022. Atom’s work delves into the collective memory of historical events and explores the profound relationship between humans and nature. He believes in the interconnectedness of events and their enduring impact on society.

Atom presents reinterpretations of historical events within contemporary contexts through experimental painting. His work was prominently featured at 'Save Point' at Kinjai Contemporary in 2022, where he introduced new perspectives on historical narratives. Continuing his exploration, Atom has challenged conventional views of collective memory by placing historical events in new cultural frameworks, as showcased in the exhibitions 'AMBIVALOVE' at Alte Handelsschule and 'D.E.T' at Pilotenkeuche during his residency in Germany in 2023.

My faint light bent in a wavering arc. Swaying with unease and fragility, I barely traced a dim glimmer. I moved toward the light—clear in aim, but lost in direction. I gradually developed a sense for detecting and escaping the abyss of despair and the weight of its repeating patterns. Each crisis sharpened my acuity. I responded finely, moved in subtle steps. What may seem like reckless intuition was swift judgment, honed by time. The hours carved into my heart fed my intuition, nurtured my sensitivity. I evolved, bracing for the next trial. Sensitivity became my chosen trait— a way to survive, a skill to catch even the faintest light. I twisted, reached, and stretched as far as I could. Through the ground, into the sky. I bask in everything. /Text. DuRi Baek

Chris Ro (b.1976) is a graphic designer and artist. His work can be characterized for their kinetic, spatial, poetic and atmospheric properties. Born in Seattle, Chris went on to study architecture at the University of California at Berkeley. After working as both architect and designer he went on to study graphic design at the Rhode Island School of Design. This mixed background continues to influence his explorations that fluctuate between both two and three dimensions. He is often at home when exploring concepts in motion and space and their relationship to the more static surfaces of graphic design. He recently finished research exploring concepts in Korean space at Seoul National University.
His work has been exhibited all over the world and is part of the permanent collections of the Victoria and Albert Museum, Musée des Arts Décoratifs, Die Neue Sammlung, the Seoul National University Museum of Art, Hongik University Museum of Art, Platform-L Contemporary Art Center and the National Hangeul Museum.

Jina Park employs snapshots to capture scenes of the everyday and translates them onto the canvas as paintings. Portraying the colorful expressions of exhibition installation sites, performance rehearsals, and night time sceneries, the platform of paintings allows the audience to look back on the otherwise unnoticed or forgotten mundane life anew. Simply defining painting as “both an image and a material,” Park focuses on its unique materiality. As her working process concentrates on repetitive physical contact with the canvas, the transient moment captured by chance with the camera is reconstructed on the canvas over a prolonged period of time. The fleeting moment that could have been easily bypassed, dons new materiality and temporality. One figure may repeatedly appear in various works, while another figure may appear numerous times within a single frame. Sometimes multiple photographs are rearranged into one composition. As such, Park’s paintings are the products of combining images from various timelines through her own painterly perspective.

Artists