Kwon Soonik

Artist Soonik Kwon is growing in the international market by interpreting the unique colors of Korea in a modern way. He has been invited and exhibited by leading countries and National and Municipal Museum of Art, mainly in Latin America and China, and his current work has been well received at international art fairs such as Singapore Art Stage and Art Paris, and his potential as an artist has been verified on the world stage. Although it is based on Western materials, the material peculiarity of using sand or graphite with paints is realized with oriental colors and textures, showing a unique sensibility that only Korea can express. The experience of the artist, who also worked as a potter, is continuously revealed in the matiere that appears thickly on the surface of the painting, and in the repeated process of raising this matiere again, the artist delves deeply into himself and discovers the absence of Ego of the abyss. The continuous arrangement of circles and geometric shapes in the work are reminiscent of op-art represented by Cruise Dies, and also show the possibility of Korean abstraction. Through his repetitive works of painting and rubbing graphite, the purest works of light and color give the audience an opportunity to experience the world of absence of Ego led by artist Soonik Kwon.

Gam Seongbin

An award-winning South Korean artist, Gam Seongbin, who won the Best Award at the National University Sculpture Competition, is a graduate of the Beijing Central Academy of Fine Arts.

Known for his expressive, Cubist-like works, Gam’s art explores grief, offering comfort through abstracted, geometric representations of loved ones.

Initially creating sculptures that depicted human emotions, Gam has recently expanded his focus to painting, paying particular attention to grief among human feelings and symbolising sadness through gestures.

His painting style is distinctive; he believed he could better express himself with oil on an oriental brush. The result is that the layers of oil colours resemble traditional oriental paintings or watercolours, while maintaining the depth typical of oil paints.

The frames are made of resin, but he first carves wooden moulds before casting. As he loves wood carving, he initially made wooden frames. While he appreciates the texture of wood, painting on it caused the colours to absorb into the surface, preventing him from achieving the desired shade. Therefore, he decided to carve the wood first and then cast it in resin. This method allows him to retain the wood's texture and accurately express the colours he intends.

Lee Youngji

Known for her naïve-style paintings and bold, vibrant colours, Lee Youngji captures everyday moments. Happily married, most of her illustrations depict doves in pairs, lush trees, plentiful ripe fruits, and beautiful landscapes, which have become her central theme. Lee uses traditional Korean paper, and creating a Korean traditional painting takes time to prepare the foundation for her artworks.

Lee depicts trees adorned with thousands of vibrant leaves, with pairs of doves flying and singing around them. Her trees are particularly lively and energetic, as if Persephone had just scattered seeds of life. Lee pays close attention to every tiny leaf, allowing these leaves to tell their own stories and stand out to viewers. It reflects our lives – people spend much time seeking happiness, believing it is something extraordinary, but it can be found in everyday routines, and every moment is special.

Park Jieun

The artist majored in oriental painting at university, and now expresses the memories of travel using both oriental and western painting techniques. The artist's work looks as if it was drawn by an elegant calligrapher of the East in a single stroke. But if you look closely, you can see that it is made up of lights, colors, greenery, and landscapes viewed from the city's tall buildings or from high terrain. Traveling is both a hobby and a life for Park Jieun, who is popular in the Southeastern region such as Singapore and Malaysia. The artist expresses the emotions she felt while traveling around the world, such as the unique nature of the travel destination, architecture, conversations with people, music, and books, in her works. The elaborate and beautifully described landscape contains not only the feelings of happiness that were overwhelmed at the travel destination, but also the loneliness and lonely feelings felt as others there.

Chung Younghwan

Artist Younghwan Chung uses blue, which symbolizes beginning, success, hope, consolation, and comfort, to extract parts of nature and express them in a formative way. The chilly blue color that flows throughout the work contains the feeling of comforting modern people who are tired of their hectic daily life. In addition, it stands at the boundary between reality and non-realization, concealing or revealing one's own, and contains the mind of observing. Currently, the artist is attempting a formative expansion that expresses vivid nature with color through color variations.

Oh Youkyeong

Youkyeong Oh, who studied contemporary art master Giuseppe Penone, has worked with everyday materials that are so common and fragile that it is easy to overlook. The artist participated in an artist residency program hosted by Hermes in 2012 with the recommendation of Giuseppe Penone, and made an exploration of metal such as 'silver' with artisans at the 'Puiforcat', famous for making silver instruments. do. As a result of that experience, she is currently working between matter and non-material, but from the beginning of her works, the artist has been devoted to working on the 'circulation' of life and the 'providence' of nature with immaterial things such as wind, light, and gravity.

The artist studied at the National High School of Fine Arts in Paris (ENSBA) and the Graduate School of the 8 University of Paris, and her works were also held in the world-class collections of the Fondation d'entreprise d'Hermes and Fondation Christian Dior. , Palais de Tokyo in France (2013), Okayama art center in Japan (2012), Atelier Hermes (Seoul, Tokyo, 2014), Buk Seoul museum of art in Korea , 2015), OCI museum, 2015, Gimhae Clayarc Museum (2016), and Busan Museum of Art (2017).

Guem Minjeong

Minjeong Guem is known as a media artist, particularly for her video sculpture works. She deconstructs and modifies where she is standing with her imagination and the space that she transforms into is a video within the screen, and she enjoys thinking and handling this in a material way. In the video, her story is unfolded, and another new story is created by structurally deconstructing, transforming, and/or reconstructing the space. She participated in several public art projects in Korea, and residency programs in Green River project-Korea/Taiwan Exchange Artist Residency in Taiwan, The National Art Studio Goyang in Korea since 2007. The works are owned by various places, including Seoul Museum of Art, Museum of Contemporary Art Busan, Kumho Museum of Art, and National Museum of Modern and Contemporary Art. She is currently a professor at the Graduate School of Fine Arts, Hongik University.

Lee Jaehyo

The artist is a world-renowned sculptor from Busan and working on the international stage. It has established a solid position both at home and abroad by presenting new alternatives to contemporary sculpture. Over the past 30 years, we have collected and reinterpreted small and insignificant things that are easy to pass by, and have been working to create their beauty.From natural materials such as wood, fallen leaves, cobblestone, and charcoal, to artificial materials such as nails, bolts, and tools. The unique materials not commonly used by other sculptors, ranging from to, demonstrate his creative and original style and curiosity for new materials and techniques.

Kim Woojin

My childhood dream was to become a zookeeper. I started my career as an artist by chance, and now I aspire to realise a dream I couldn’t achieve in the past by sharing emotional stories, such as dreams and hopes I had to let go of because of my environment and complex human relationships. Kim Woojin

Kim grew up near a renowned zoo and always had the chance to observe the animals there, but he chose to become an artist instead of a zookeeper. Most of his sculptures depict animals, and deer are his favourites.

His sculptures are made of small pieces of different colours - he sees each piece as a cell, like a part of the body. They also symbolise a collection of memories and childhood dreams. He explains that each colour has a different meaning. For instance, the black in his sculpture represents the difficult moments the artist has gone through, so it is placed over other colours.

His sculptures resemble pop art — cheerful and devoid of deep meaning — but through them, he seeks to express his life, in which he has been overcoming difficulties and fulfilling his childhood dreams.

Suh Seungeun

In 2006, inspired by the resilience of the succulent plant, which survives in arid conditions while retaining its thick, fleshy leaves, Suh created the “Succulent Girl,” a chubby, adorable, and tough-as-nails character.

Using Hanji, the traditional Korean paper, as her primary medium. Suh notes that the layered textures of Hanji mirror the universe, creating an exciting effect as watercolour or ink soaks and disperses across it. The subtle colours that develop—being influenced by many variables rather than precise calculations—highlight the unique appeal of Korean art.

Suh blends this technique with fantastical, dreamlike themes to craft subjects that mirror my philosophy and emotions, enriching the viewer's emotional experience.

By instilling vibrant resilience in vulnerable humans, Suh aims to demonstrate that, in a demanding modern society, perseverance and effort despite hardships can eventually lead to growth and fruition.

“Everyone faces adversity in life. I wanted to talk about reaching new hopes and dreams through beings beyond human weakness, such as the resilience of succulent plants that bloom after long periods of patience. That's how the succulent botanical girl was born, and I aim to send positive energy to everyone in a wounded world with their stories.” Suh Seungeun

Kim Minsong

Kim Minsong's work portrays a dreamlike landscape, evoking a deep night's dream. This was inspired by a trip she took to Morocco after her graduation, during which she discovered a desert flower called “Lupinus” and thought it, which glows in the desert, was very much like her — warm and lonely.

The artist depicts a scene filled with exotic, mysterious plants beneath a pouring starlight. The darkness in her works does not appear frightening but relatively warm. Memories fade in the bright light but shimmer in the darkness. The artist explains that these memories sustain us — and that this is art.

Seo Yeji

We spend most of our days with others who significantly impact our lives. In today's world, our personal time is limited, and we often seek a comfortable space to relax without disruptions. Seo's workspaces reflect her personality.

Using her favourite teddy as the focal point to evoke her innermost feelings, Seo carefully arranges other objects within the space and, in a childlike manner, reveals her interests and preferences, and even allows us to infer her personality.

Additionally, these small objects give us a sense of calm, which we seek in our own "safe house." As a result, the space Seo aims to portray is one where she can focus on herself or recharge after the exhaustion of everyday life.

Lam Fung

Having lived and worked across Austria, Australia, China, the United States, and Singapore, Lam Fung graduated from the China Academy of Art on a scholarship in 1990. He was then invited to the Austrian Akademie der Bildenden Kunste to join the Vienna Academy of Fine Arts Master School for Painting and Printmaking, where he received a Master’s degree with first-class honours in 1993. Lam is the founder of the contemporary group 'Ink Forum' and a Distinguished Professor at the China Academy of Art. His distinctive black-and-white and vibrant-colour paintings are held in the collections of the Monaco royal family, the Albertina Museum in Austria, and the University of Hong Kong.

Annetta Dewi Wijaya

Indonesian artist Annetta Dewi Wijaya regards 'girlhood' as a central concept that runs throughout her practice. Rather than remaining a simple theme, it expands into a sensory approach that shapes her choice of materials, modes of expression, and overall imagery. Elements derived from her personal tastes—such as music, art, fashion, and popular culture—are reinterpreted through recurring motifs, colors, and textures, forming the distinctive feminine aesthetic that characterizes her work. Annetta studied Visual Communication Design at Petra Christian University in Surabaya, Indonesia, and received her Bachelor’s degree in Art and Design in 2020. Grounded in a design-oriented sensibility, her practice extends primarily through painting and textile, constructing pictorial spaces where visual narratives and material sensibilities are closely intertwined.

Yoo Jaeyeon

Based in London during the COVID-19 pandemic, the city was almost deserted due to restrictions. Yoo felt nostalgic and lonely, painting in her studio during the day and taking walks in the evening. Her paintings reflect her feelings during this period.

Yoo Jaeyeon's work collects and visualises fragments that arise from the space between childhood fantasy and reality. The hidden gaps — delicate emotions and tensions between the ideal and the real, the individual and society, the past and the present — are not only captivating and lively but also deeper and more intriguing.

Choi Woo

Choi Woo's work is life itself with happiness, unhappiness, and hardship. His style of work is so diverse that it's hard to define a particular trend or genre, but the way he talks is different, but the story he tells is the same. It's a hard and lonely life, but it's about looking at life face to face and looking for hope there. The people, animals, plants, and objects in his work are all equal and beautiful, regardless of superiority or inferiority. And his works, which show unique materials by repeating erasure, show the original appearance and mind of each life. The artist's work that fascinates us will be in his free-spirited, which shows the purest essence of life.

Yoon Byungwoon

Yoon Byungwoon, who likens painting to a window, draws a virtual world that seems to mix consciousness and unconsciousness through the window. Consciousness and unconsciousness, virtuality and reality are mixed together, and his work is interesting with ambiguous boundaries, allowing the audience to peek into his secret world without fully knowing his intentions. Artist Yoon Byungwoon studied at Hongik University, has performed solo exhibitions in Seoul and Philadelphia, and is also active abroad in Korea, China, and the United States. Yoon is the recipient of the Dong-A Art Prize, the Kyunghyang PAG’ Today’s Young Artist Prize’ and the Danwon, NewFrontier ‘Special Prize’ amongst others.

Chung T-yong

Chung T-Yong's work extends beyond sculpture, installation, and two-dimensional media. The central theme in his art is “Contatto” (Contact), which is also the name of his two-dimensional series.

For Chung, "Encounter" transcends merely the subject matter of his art and influences his entire creative process. He begins with ancient Roman sculptures, often sourced from Italian flea markets or antique shops, as the foundation for his work.

Drawing from his own ethos, he then shaves sections of the sculptures, polishes them, and transforms these incidental objects into pieces that link the past and the present. This method aligns with the Arte Povera movement, which thrived in Italy during the 1960s and 1970s. Just as these artists explored new artistic languages using everyday materials, Chung T-Yong's work enters a new phase, crossing boundaries of time and culture.

Lee Juhee

Lee Juhee captures a fleeting moment that feels like it exists between objects and spaces as they pass in daily life. Lee focuses on trees as her main subject. She finds great comfort in observing trees that heal themselves even after being scratched and remain silently in their place.

The lyrical atmosphere through the branches and leaves was crafted by layering pigments between paper cutouts shaped like leaves. Additionally, the artist uses paper-cutting, carving the landscape with a sharp blade while reflecting on the day's scenery and mood. This process acts as a meaningful method for reinvention.

Pygma

I made the canvas my heart and the colors my emotions, filling it to the brim.
When I finally tied it together with bold lines and made it my own, I could truly understand. The heart that was once full of pain and uncertainty now could be filled with peace and warmth.

Yoon Deokhwan

Yoon Deokhwan creates a new space by recombining various traces from the beautiful impressions and afterimages of the landscape. Stories exist in this space. It is an ordinary daily life and unfolds with small stories, but those moments come together to create one big story. In the utopia he created, we can dream and realize our ideals.

Shumu

In Shumu's work, animals that are on the verge of extinction or being abused appear. Animals such as koalas, penguins, owls, foxes, and ring-tailed lemurs are carefully engraved on the original print, not on paper.

Kang Minseong

Artist Kang Min-seong's work, which attracts attention with the lines and aura created when disparate materials meet, has a unique charm from the aesthetics and emotions shown by traditional moon jars. Ceramic glass and iron, the materials mainly used by the artist, are very different in the way they are handled and expressed, but the lines created by the combination of disparate materials are modern yet reveal the naturalness of the material itself. The simplicity and inner strength shown by white ceramics are fragile. It stands out when glass, a flexible yet transparent material, is used together. In addition, the artist uses colors that are difficult to see in moon jars, such as blue, orange, and sky blue, and corroded iron in ceramics. By focusing on the color and texture properties of each material, the artist creates the moon jars. We are exploring new aesthetics of sculpture beyond jars.

Won Beomsik

René Descartes viewed as beautiful the order and coherency of structures designed by a single architect; the purpose of the Archisculpture Photo Project, however, is to create architectural sculptures by collaging photographs of diverse architectural works from various architects. In this way, Archisculpture Photos are both similar and different to the organic romanticism of old cities built through the works of myriad architects, for they represent the artist's subjective interpretation and decisions regarding various architects' numerous designs. If a photograph has a "punctum," then clearly the architectural works used here will in certain ways be the artist's "punctum" and their assemblage will be the Archisculpture Photo. These works may also locate and bring together structures with political, economic, or social significance, creating through the work's "studium" the illusion of a metropolis. Like collectors who arrange and classify their acquisitions with great care, artists analyze selected city fragments gathered from here and there and with them create their sculptures. What exist now as disparate structures are reborn as beautiful sculptures which retain their diachronic or synchronic histories, or else encompass it all. As Russian film director Sergei Mikhailovich Eisenstein explained in relation to the montage technique, the collaging employed in this process creates through the collision of disparate elements stories that before remained beneath the surface. In essence, however, it is a photograph of a nonexistent, architectural sculpture.

Lee Heejoh

Artist Lee Hee-jo shows us the pieces, starting with the premise that they are made up of numerous sculptures. The things we own, the places we've been to, and the people we've met are pieces of the puzzle, and the relationships we have with them, our memories, and our emotions are aligned to form who we are today.

Lee Eunjung

'We' are not living alone in many things that exist. People who interact with each other are made up of 71 percent water and 18 percent carbon, 4 percent nitrogen, 2 percent calcium, 1 percent potassium, and a spoonful of rare elements. It is not that one person is born special, but sometimes he or she has something special and ordinary.
The artist reminded her of waves in this way like this. The waves are swept away. But even in that, one molecule, several properties, move vigorously in its own direction. A sea that is not special, the nature of water is the same as ours. As the waves hit the rocks, countless droplets of water cut through the air in the sky, but they go back into the waves. As if nothing had happened. A moment's specialness draws attention, but it goes back into the crowd of cheers. Using scattered and combined structure and images, the artist talks about the form and relationship of society.

Stella sujin

Stella Sujin concentrates on the body of the marginalized being, defending the need to create a non-homogeneous society. In her work, the body appears as a pregnant woman, Virgin Mary, a genital organ, the Sphinx of Greek mythology, a protozoan with flowers set within itself, or a hybrid creature––all are related to feminism discourses. In particular, she focuses on the bodies of women as those who are oppressed inan androcentric society. She suggests female bodies are regarded as ‘monsters’ causing horror, or what Julia Kristeva called ‘abject’, that is, as objects to be cast off to achieve the complete course of self-realization. She visualizes the bodies as her resistance against established social orders and systems.

For the past 15 years, Stella Sujin has continued this resistance primarily through painting. Producing paintings of monsters using fluid materials, which reveal her act of painting transparently, she has established her anti-modernist aesthetics. Since the early years of
her career, she has traversed between Western and Eastern painting techniques. Beginning in 2012, she created a series of drawings with
bold and instinctual brushstrokes. Since 2017, her painting practice has widely expanded as she started employing in her work tactile materials such as clay and pastels: she rubs and mashes those media, focusing on the textures they create on her canvas. As such, her painting is close to body art born in the refusal of traditional art forms in that she employs gesture or bodily movements as essential elements in her painting. As is well known, as the body art movement, which was rooted in the European avant-gardism of the 1960s and ‘70s that took human bodies as both the subject agent and the object of art, encountered the feminist movements of that time, the artists staged performances, in which they transformed their bodies in unusual ways or made aggressive gestures, as a way of criticizing a society paralyzed by patriarchy. While Stella Sujin also refuses modernist art as masculine art forms, the encounter between body art
and feminism in her work is made in a completely different way. Rather than showing filthy and ugly bodies, the monsters that she depicts attract and soothe viewers with clear, transparent colours and small, slim forms, until the apparent naiveness of the monsters is unmasked, revealing their grotesque insides.

Heather YEO

Heather Yeo's painting embodies ordinary scenes from her daily life. The beginning of painting is the process of editing a scene from a photo taken with a camera. The artist brings back the feelings of the moment and captures various emotions of the time. The edited images in the artist's memory are expressed in their own bright colors, patterns, and various textures. By drawing various textures on one canvas, positive memories are solidified into works within the canvas. The artist hopes that the various emotions contained in this work will stay in someone's memory for a long time.

Kwon Soyoung

Kwon So-young, who quenches thirst and is healed by nature, sees the natural scenes that are difficult for modern people to enjoy in their daily lives, and then captures them in the canvas through the stages of division and reconstruction according to the inspiration of each place. Rather than simply reproducing the appearance of nature, it contains images that are recorded over time by directly interacting with things that are invisible but felt on the skin, such as air, wind, and sound in the landscape. Stacking up countless ink dots one by one gives a calm and calm feeling, but these small dots come together to create changes in ink tones and result in great natural energy. The artist hopes that it will become a haven where they can relax and go to the modern people who long for a new haven in the busy daily life of the city.

Woo Kim

The world that Kim Woo sees is explained by patterns and non-patterns. All the objects or phenomena that we call by name are non-patterns of something. The artist has expressed the moments observed from the observer's position. As an observer and recorder of the ever-changing flow, she creates works. And the work created in this way will also create a new flow with other masses as a single mass.

Kang Junseok

Jun-Seok Kang, who is from Busan, lives and works in Jeju, expresses the fantasy and daily life of Jeju, which is oddly matched based on solid drawings and wide imagination. In his paintings, which express images that are difficult to see in cities in the exotic scenery of Jeju Island, everyday scenes slide into extraordinary scenes, and the audience falls into the change. Perhaps thanks to the warm climate of Jeju Island, his paintings have a lot of green color of green palm trees all year round. Rabbits dance and walk around in this green light and charcoal, dogs talk, and music resonates from a magic piano. The reason why such poetic landscapes found in Jeju's exotic and everyday landscapes are fascinating is that it is based solely on the unique imagination and clear lyricism of artist Kang Jun-seok.

Byun Daeyong

The work of Byun Dae-yong, who borrows popular images such as Disney characters, is full of humor, fables, and pop elements. Works with smooth textures that you want to touch inadvertently start lightly and unravel with the unique power of communication that art has. Thanks to the colorful surface, he is easy to look like a light artist who only emphasizes visual elements, but rather appearance is nothing more than a bait to lure us. The artist wittyly reveals the strata and absurdities of life hidden in it.

Qwaya

For the artist, night is his own time, a time of silence and contemplation that is extremely realistic and far from reality. Memories that come to mind one by one as you finish the day. For artists, records are always important. Represents newly interpreted and transformed images through subjective records. Try to build records in your own way.

JEJE

Through the figures of children, artist JEJE satirizes people's identity crisis and the inevitability of conforming to the system in today's society. His works arouse interest and empathy in modern people who at least once contemplate about their identity in this era of forced uniformity.

Jeong Jiyoon

The artist captures the sensory characteristics that are usually shown in the collected photographic images and transfers them to the canvas with oil paints. These quick strokes create a sense of rhythm and allow for immediate expression. While looking at photos taken on a smartphone one day, the artist discovers a situation that she did not know at the time. The photograph, unlike what she felt at the time, came raw. The memories of the senses felt in the actual experience were not contained in the photograph. In other words, the senses we saw and felt were not fully contained in a single picture. In the past, photographs were printed and kept in albums, as if they were written, and now photos of smartphone camera albums immediately capture the situation and emotions of that time, but soon volatilize. As a result, experience and sensations are more important than photographic images in the process of transferring from the artist's experienced image to canvas.

Cho Serang

To look into one person’s world is to acknowledge countless others’ worlds and to form connections. Work and life intertwine in this way, breathing together and expanding infinitely.

Even at this moment, I am constantly changing, and I can only pause to reflect on who I am now through the world I am connected to. We are each other, reflecting our fragmented worlds.

Lee Na

Work began with childhood photography in the 80s and 90s. I drew while looking at the picture and naturally led to drawing, collage, and painting
C. I started drawing the person closest to me, and the childhood photos of my parents and my brothers and friends are familiar and cause unfamiliar emotions
I turned it on. When I focused on the person in the picture, I felt the emotion of the person at the time being conveyed to me. I felt lonely, sad, and longed for hope. I dragged the characters in the picture into my world and made screens according to the atmosphere and emotions I feel. The characters out of the picture bring out new stories and play a central role in the story. If the work so far has been a fragmentary drawing of scenes conceived from childhood memories, emotions, and imagination, the future work will continue the series with a single story. [Fruit Tree Forest Children] expressed children hiding in a huge forest. It is a series of work that depicts a combination of energetic children, fresh fruits, and insects. [Swan's Pond] is a series of works about a man who was a human during the day and turned into a swan at night. [Children in the Afternoon] will show visually artificial spaces and organic nature in contrast by drawing what happens while exploring the secret space found by the children in the forest. The work contains the content of the coexistence of nature and humans in a broad sense. It is a work that started from a very personal experience, but I hope it will be an opportunity for the audience to evoke the emotions and experiences they felt but easily passed or to stimulate their imagination.

Kim Hanna

Hanna Kim deals with the story of a rabbit, his alter ego and friend through various media such as paintings, sculptures, drawings and animations. She has held numerous solo exhibitions including a solo show in Alternative Space Loop in 2006, Arario Gallery Beijing in 2007 and Arario Gallery Seoul Samcheong in 2008 and 2013. She has also been in many group exhibitions, including Vision & Perspective at Pusan Museum of Art in 2005, Another Worlds Part II at Arario Gallery Cheonan, and Bandee Project at Alternative Space Bandee.

She recently completed successfully her solo exhibitions in GANA Art Gallery, Busan in 2017, Lotte Hotel and Resort Gallery, Seoul Myeongdong. In 2018, she has had two person exhibition in Shinsegae Gallery, Busan and solo exhibition in Sewoon Sanga, Seoul which she had presented her new animation films and collaborated the installation work with the florist company.

Sang Hwan

Sang Hwan's work begins with his cat,'Santo'. The artist shows the relationship between companion animals and companions about what people are missing in a materialistic society. The dogs and cats in the work are not just cute and adorable. While the appearance of the wild remains, the time spent with the owner shows a solid coexistence between them. The unconditional love of companion animals makes us look back on what precious things we are missing on our path toward ideals and desires for our goals.

Shin Daejun

In retrospect, we all had at least one person we could trust and rely on psychologically. As if the boy had a red elephant. In the works of Dae-Jun Shin, the red elephant accompanying the boy and the recently appeared blue cat give a sense of stability and tranquility. In a life that must be sustained day by day, like a boy's long journey, the red elephant gives the boy unconditional love and trust. The red elephant can be a parent, husband or wife, friend or companion animal. The perfect response of the elephant and the boy makes it possible to reflect on the preciousness of the beings that were neglected by our side in the lives of adults in difficult daily life, and the love and life we ​​get in the relationship.

Im Jimin

One key theme that penetrates artist work is memory. The artist has been expressing the image of her inner memory through painting based on photography, but a change has occurred in her recent work. Consciousness, which has remained in the memories of the past, goes into memories inside me more and more, but does not stay in the memories, but brings them into the present. In previous works, thoughts were drawn on the screen with images filtered and organized. But now, the unfiltered images are being drawn on the canvas. A variety of hand movements, threads, confetti, fruit, etc. appear on the screen, and pieces of irrelevant pictures are gathered to create a single screen. She will continue to open this consciousness world without another filter paper. Through painting, one can only see the story on the surface, and some can read my monologue and hidden princes.

Tae Woo

The artist wanted to see the concept of play in traditional landscape painting and empathize with it to study new expressions that enjoy play in his own imagination.
He considered what the current landscape painting should look like, and as an extension of the trouble, he found that modern people were enjoying various plays in confined spaces.
As times have changed, only the form of "play" has changed, but even now, people seek nature to enrich their lives.
Based on the idea of Wayu, the artist is purposed at creating a new landscape in this era by incorporating mental pleasure into the nature.
In line with the passage and change of the times, we want to implement the artist's own "Wayusansu" through the perspectives of modern people and the perspectives of the artists.

Han Choongseok

Choong-Seok Han, who works by layering light acrylic paint on a cotton cloth, not a canvas, dozens of times, is working on'relationship' by comparing the'owl' to himself. The owls appearing in the works of Choong-Seok Han in the early days symbolized the appearance of modern people who hide their bodies halfway behind a tree with their eyes open, notice, and are unable to establish relationships with others. However, as time passes, the owl becomes a father and, paradoxically, finds his own resting place through exchanges with others, and gives many people healing and happiness through relationships. Choong-seok Han, who recently sold out at KIAF and ART TAIPAI, is a young artist in Busan who is receiving much love from home and abroad.

Goni

Goni pays attention to the moment when people face a crisis, and works with drawings and installations. Goni's perceive paintings as if they are people and often call them ‘friends’, so she think about the shape (body) that suits their unique personality when creating an image. The process of finding a body suitable for him starts with the two-dimensional form in the painting and progresses to the three-dimensional painting surface and installation method.

Kim Eunju

Eun-ju Kim, who has been persistently working with a single material called a pencil for a long time, always exposes energy and life beyond the image itself on the canvas. Although the contrast between black and white can give a monotony in her work, the black color of the pencil is scattered and reflected by light, creating a variety of work. In other words, the honest workforce that repeatedly moved pencils to create the texture caused by the friction between paper and graphite is revealed through the image. The unique feature of Eun-ju Kim is that she creates classical materials such as the human body, waves, and flowers in Eastern and Western art history in a way that no one has ever done with a very common material such as a pencil. The artist's screen is heavy and full of black, but paradoxically, light is important. Old ancestors said that the ink contains thousands of colors. Thousands and tens of thousands of lines drawn honestly as if silently brushing the sword are piled up, constantly changing color and shape, like ink, depending on the brightness and angle of light. The constantly changing colors and shapes are the wind, sea, and light of Busan that the artist has seen since childhood. Eun-ju Kim's work has a Korean character, especially “Busan,” so the process of work is slow and hard, but it shines even when compared to the work of any other artist in the world.

Park Seonga

Park Seonga's works show images acquired in real life, but it is a sensory space of the artist's own thoughts and consciousness, and there is a premise that it embodies the inner side of the space that is not ostensibly. Round figures appear secretly during the process of recalling and internalizing memories from the warmth of nature. The round shapes formed from the time of recognition of nature are warm, soft, emotional elements that begin with such small things, and images of the mind that are newly constructed inside.
The artist is going through an intermediate process of how to make others think universally about the object of an individual's distinct intuition and the content of emotion. In the work of recalling nature, the images that are internalized and recalled are released into the artist's unique space and express as if they exist in reality.

Shunita

Shunita’s work begins by talking about human emotions and expressions, but also creating and imagining “beings” that deal with the emotions evoked in ourselves. These “beings” live in the artist’s unique world, and work to solve complicated emotions or thoughts caused by obscurity of human world. Human life necessarily loses balance or is amorphous because of the existence of emotions, and this can be a gift or a punishment at the same time. The artist works are expressions of those experiences.

Yoon Weedong

YOON WEEDONG_MONOLOGUE
This work shows the essence of hyper-realism implying the process of sand becoming a stone by depicting a stone sliding over the sand, and its three-dimensional effect is enhanced by applying real sand on the canvas and stacking the stone in relief. Its artist believes that it is natural for him to depict the reason of nature as the artist himself is a part of nature. And the sand and the stone that are vividly revived at the end of the artist’s brush, capture the nature, the universe and the artist himself.

Lee Sojeong

The artist dreams of spending leisure time looking at the green plants at vacation spot, reconstructing her own garden, trying to contain time and space where she does not have to do anything regardless of time.

Lee Eunwoo

The subject of artist Lee Eun-woo's work is 'jelly'. The colorful colors and soft texture of jelly came to the artist as a strong attraction, and she thought that she wanted to spread her own world on canvas using these jellies. While thinking about how to draw a world made of jelly, she thought that the word island fits well with the bar she was looking for, so she combined ‘jelly’ and ‘island’ and the present Jelly Island was born.

Moon Jung

Giuseppe Penone, a master of Arte Povera, once said: "If it is not poetic, why work?" Conversely, this can be interpreted as meaning that a work of art must necessarily imply poetic metaphor. Ethel Ednan, a Lebanese female writer who studied poetry in France and taught at the Sorbonne, also began writing poetry visually to transcend the limitations of language, which eventually became her artwork; thus, it may be inevitable that every work of art must possess a poetic aspect.

Jung was born in Busan, studied at the Beaux-Arts in France, and continues her artistic career. Her works, which display a wide variety of delicate pencil gradations, may seem unexpected considering the rough and vivid colours of the port city where she was born and raised; however, they harbour a delicacy akin to the colours and scents of the sea that change with the daily weather, contrasting with the rough sea breeze. In a sense, this may be a delicacy that someone raised in a city surrounded only by buildings could not possess.

Hwang Hyunseung

'I want to be a poem.' The artist, who says, completes ordinary everyday moments with a poetry through his own poetic sensibility. The artist's work makes you feel the inherent power of painting in a calm yet natural style of painting. It is beautiful that everything that makes up the world has a specific and unique shape. There is nothing that is nothing.

Jeong Yiji

The artist gets to know the world by communicating with the people around her, making eye contact, and eating. Through this, the artist records the moments the artist felt and saw on the canvas by simplifying the color or shape. Perhaps for this reason, the artist's sincerity and affectionate gaze toward the surroundings in ordinary daily life are melted in the people and still lifes that appear in the artist's work.

Kim Jiyeon

Oil paint is often regarded as a thick and opaque material, but Artist Jiyeon Kim has focused on showing meditation and the spiritual world in depth by interpreting the properties and techniques of pigment in the form of ink painting. At the same time, in order to convey a clear and deep feeling, she is experimenting with a calm and elegant composition that mainly utilizes blank spaces. The artist's goal is to choose traditional things such as the moon and pottery as the theme, and to expressively revive modern beauty.

Yang Juna

Artist Juna Yang collects images of cities and nature found in her daily life and expresses them into paintings. Although the artist lives in the modern world and enjoys the convenience that it brings, she longs for mother nature and the feeling of warmth that it brings. The story of herself, who feels somewhat confined in today’s modern city life, is portrayed in a light and warmhearted manner.

Kim Doyoung

Kim Doyoung's work is mainly Hangeul and Hanok. The artist goes beyond reproducing the shape of the hanok or expressing a scene of the landscape, and contains her thoughts, including the emotions given by the hanok. That's why people who see paintings want to talk to hanok and hope to become their "mind scenery" again.

Song Jeehye

Artist Song Jeehye hopes that people will find their stories in her work. Just as own life and experience are special to people, the artist thinks so too. It is the artist's work to express those experiences in painting. The Artist is sometimes comforted by her paintings. The Artist wants others to be comforted through her work, too.

Park Minsu

The sculptures of Park Min-soo are connected by grinding and welding numerous wires connected under meticulous and delicate calculation. The unique visual patterns created through the connected ancestors and their margins convey the logic of nature and the world, such as both sides of a coin. It can be explained by keywords such as nonlinearity, ambivalence, rules, rotation, pattern, and infinity, and has the opposing property of filling and emptying by arranging metal wires in space. Lines are arranged according to certain rules and welded one by one, so that the hard repetitive behavior allows the work to recognize physical and non-physical elements simultaneously through communication of synesthesia and physical properties implied by the close and systematic connection. All phenomena do not exist alone and are organically closely connected, and the connection is endless and circulates in a constant cycle.

Kim Xian

Most of the elements appearing in Kim's paintings start with things commonly found in everyday life, such as toothbrush heads, chairs, animals, and fruits. It expresses people by analogy through raw materials such as everyday items or natural extracts. The smile that appears in the work is the most direct expression of joy. The artist hopes that a contagious smile can give a little bit of relaxation to the busy daily life of modern people.

Kim Doongji

Lee Suyoung

Lee suyoung captures the landscapes that pass or disappear easily in everyday life, and records the scenes that are missed or lost, people who need comfort in life above all.
She works with Hanji as the main material, and she says hanji is like a friend who embraces everything. The adorable paintings of everyday life with friends are warm and seem to resemble the artist.

Kim Su

Artist Kim Su is a Busan-born installation artist who has been constantly interested in the essential and changing process of the nature of objects and the relationship between objects. The artist expands the process of changing things as they interact with other objects or due to such exchanges to fundamental questions about wounds, despair, and healing in relation to others. The artist seriously and cheerfully solves the structural problems that arise in the relationship and that prevail in daily life. In the process, the artist goes beyond the simple nihilism of the relationship, and nevertheless reveals the possibility of healing that individuals have received in the relationship. To release. Objects selected as works receive new values. What makes the artist's work unique is that it gives us new values ​​to familiar objects, but also reveals its original function, blurring the boundaries between art and daily life, and inducing questions.

Jeong Inhye

Jung Inhye's cactus is characterized by a mattier oil painting and a rough feeling, and is made with subjective colors that are one tone down from natural colors and rough brush strokes. In work, she look for a unique shape that is not common because I put a lot of emphasis on the external part. It composes a natural scene without unobtrusive distortion and adds emotional expression to it. In the artist's own cactus garden, we feel comfortable and liberated as if we were in the forest.

Manwook

Manwook's work expresses exotic nature and animals with plentiful colors and rough handwriting on the flat surface of painting. In particular, the intense fluorescent color stands out. The artist called fluorescent color 'refreshing and dazzling color' and poured the color completely into the work and used the artist's unique and cheerful color in the work. The artist is constantly talking about the outside world with a combination of unfamiliar materials, regardless of media or genre.

Yong Kahkin

Yong Kahkin's art reveals a wildly colorful world in his mind, filled with wonderful characters and transcendent landscapes. His art, depicted in a distinctively cheerful and surrealistic style, perfectly exemplifies the artist's imagination and his craft in perfect harmony. The transcendental reality in Kin’s art is an immersive escape; admirers of his work can lose themselves for a moment and forget about life's monotony and drudgery.

Sohn Jungkee

Jungkee Sohn's art enables us to profoundly experience the core of solitude through depictions of a solitary human amidst expansive nature. He considers the question of “how to live” the most essential theme of life, emphasizing that this reflection should be focused inward rather than outward.

Sohn emphasizes that this phase of voluntary solitude is not isolation but an opportunity for self-reflection and life assessment. When we stand before a landscape where the sky appears at our feet, or gaze into water at a deserted lakeside where even the wind has fallen silent, we uncover new worlds and aspects of ourselves that conventional eyes might miss. This unfamiliar scenery, revealed only when we let go of purpose and efficiency, becomes the initial scene where we release life's burdens.

Sohn's paintings transcend simple landscape representations, illustrating a journey into the depths of the inner self. They express feelings of encountering the familiar as strange, unfulfilled desires, and the confusion and disappointment felt between the true self and the self; one hopes to become. This process resembles a rite of passage toward self-awareness. The artist embraces these internal struggles, reflecting on them and capturing the nuanced emotion of solitude on the peaceful canvas.

Kim Yongil

A house expressing warm and happy times through light,
a crape myrtle tree expressing abundance and wealth through grandeur,
and a background that comfortably embraces the house and the tree—

Kim has simplified and composed these three elements within his work

Kim's work possesses a complete narrative about happiness to viewers by transforming memories of his personal experiences into a story that many can empathise with and find comfort in.

Kim uses charcoal, a childhood plaything, as a medium to evoke memories. By applying and then scraping it off the canvas, he fine-tunes the tone to depict memories with different levels of clarity and intensity.

Park Younghwan

Born in 1998, Younghwan Park is a renowned Korean artist celebrated for his distinctive artistic universe, influenced by Oriental painting. His work revolves around the themes of 'time' and 'memory,' which are central to his exploration. In his creations, he visualises linear flowing time as spherical forms, where these spheres embody memories, with their brightness indicating clarity. Deep black spheres symbolise the present and vivid memories; spheres that fade as brightness diminishes depict past memories; white spheres represent death or complete oblivion.

In his works, the window serves as a boundary that both separates and connects the present with the past, as well as the interior with the exterior. Technically, he uses different types of ink to depict delicate colour transitions, ranging from basic black and white to shades of purple, blue, and green.

Lili Lee

Lili Lee’s work primarily reinterprets the traditions of East Asian painting and spiritual contemplation through a graphic visual language. For the artist, art functions as a practice of meditation and healing, as well as a process of recognizing and expanding inner consciousness and creativity. Drawing inspiration from traditional Korean shamanism, the artist transforms the symbolic iconography and structures found in religious talismans into a visual language, constructing a spiritual world in ink painting that is both personal and universal. The works incorporate traditional Korean materials such as hanji paper and integrate decorative craft elements discovered in shamanic ritual objects. These materials and techniques go beyond mere cultural reference, functioning instead as part of the artist’s own distinctive visual system and as elements within a broader spiritual narrative. In recent works, the artist has begun to focus on the invisible energies generated by human activity, reconstructing them in the form of “altars” and thereby expanding both the spatial and conceptual dimensions of the practice.

Roh Hyeunwoo

Unlike most Korean artists, Hyunwoo Roh chose to study art in Russia. While contemporary art often emphasises the artist's ideas and unique expression through abstract techniques, novel materials, and brushstrokes, Noh believed that the abstract art trend in contemporary work felt like ill-fitting clothing.

While studying in Russia, a country deeply rooted in Realism, Roh developed techniques to express his emotions, thoughts, and ideals through hyper-realistic art. The scenes in his paintings that seem to exist yet feel unreal are actually real locations. Roh portrays specific dates, times, and places that made a significant impression on him with great detail. The titles of his artworks are exactly those dates, times, and locations. His goal is to evoke the same emotional response in viewers by faithfully capturing the scenes that stirred deep feelings in him.

Steven Low

A talented ceramist, Low graduated with honours from the Nanyang Academy of Fine Arts in 1996 and earned a BFA in ceramics from Curtin University of Technology in 1999. Low has participated in many international exhibitions, with recent shows in Thailand and Australia.

"Life of Stone" explores the interplay between structure and vitality, combining the firmness of stone with the spirit of life. This ceramic collection features intricate patterns and vivid colours, created using the innovative Batik Obvara firing technique.

Each piece is a unique, organic form that blurs the boundary between art and nature, demonstrating how rigid, stone-like qualities transform into living, dynamic shapes. Just as stone can be sturdy and resilient, life also possesses a delicate, lively essence.

Ryu Yejun

Life and death are inseparable, yet we remain accustomed to viewing death negatively, as if it were something unrelated to us. In Ryu Yejun’s work, this 'invisible death' is given form through the face of 'Mori', a figure with faint and indistinct features, transforming death into something tangible that can be seen and contemplated before us. Through this gesture, the artist reminds us that death is the final process that every living being inevitably reaches. In doing so, the recognition of death ultimately brings the preciousness and intensity of life into sharper focus.

Navin

EnJo

Artist Enjo, who has been exploring three-dimensional objects in the concept of flatness, newly recognizes points, lines, and planes that are the basic elements of formative and closely connected to everyday life. What makes his work unique is the way he treats lines and faces in sculpture. Unlike artists who generally make three-dimensional sculptures, Enjo implements works from three to two dimensions. The colors most commonly used in Enjo's works are limited to achromatic colors such as white, gray, and black, and blue, but flowing rhythmic lines meet the minimal colors, bringing the space to life as if drawing a picture.

Patricia Yih

Patricia Yih distinguished herself as a pioneering anaesthesia trainee at the National University Hospital, where she gained comprehensive experience by rotating through all surgical disciplines and intensive care units. Her dedication and expertise led her to the forefront of liver transplantation in 1996. During this period, Dr. Yih played a pivotal role as the lead anaesthesiologist, personally conducting over twenty liver transplant operations in Singapore.
Now in 2026, we move to discuss the neuroscience of memory in photography. This will lead us to current topics on artificial intelligence, the connectivity of handphone photography and eventually, to ethics and restraint.

Terence Tan

My process is one of photography, digital layering, construction and de-construction, addition and erasure, a method akin to painting that compresses time and memory to evoke emotions.

- Terence Tan

Zorikto Dorzhiev

Zorikto Dorzhiev masterfully combines the techniques of the Russian academic school of painting, the influences of modern European Art with Buddhist iconography and philosophy. A central theme in his art is the image of the nomad as contemplator, artist and philosopher. Zorikto is a versatile artist who is constantly experimenting in new media and genres in art. In addition to his paintings and graphic drawings, he creates sculptures, video projects and digital art.

Huang Li Xian

Huang Li Xian's artistic practice is rooted in a keen sensitivity to architecture and spatial experience, focusing on the interplay between the inner psychological realm and the external physical environment—a concept she defines as the “Third Space.” Through a personal lens on everyday life, she weaves reflections on time, memory, and lived experience into her work, exploring tensions and harmonies while capturing the subtle coexistence of opposites and interdependence within the ordinary.

Choi Eunjeong

Eunjeong Choi’s works showcase realistic imagery, but with subtle inconsistencies. They depict a fictitious world, presenting a heterotopia where the harmony between nature and human civilization is achieved. Her paintings, with their bright colours, look highly polished and resemble modern digital images, almost as if generated by a computer. In an era overwhelmed with images, making it hard to tell what is real, her art seems to exist among an endless stream of reproductions. Interestingly, it still carries the aura of originality. This might be because her idealised nature isn’t meant to mimic the natural world, but to offer an escape from the harshness of real natural disasters.

Her practice has grown from painting to include installation and media, exploring the intersections between nature and urban environments, flat surfaces and three-dimensional forms, and images and their frames. Consequently, her work isn't a distant utopia but takes the form of tangible expressions of nature that viewers can physically engage with, even touch. This aspect enhances viewers' engagement, allowing them to become more fully immersed in her art.

As we enter the 21st century, humanity faces numerous crises, including pandemics, climate change, and natural disasters. These issues result from reckless development that has caused global warming and disrupted nature’s self-regulation. Among those living in the Anthropocene, the artist recently focused on flowers. Banksia, also known as “firewood,” is a distinctive Australian plant whose seeds are released only by the intense heat and smoke of wildfires. This resilient organism produces fruit in extreme conditions, highlighting how fire—once central to human civilisation and also a threat—paradoxically activates the remarkable potential within Banksia seeds during crises.

The canvas, characterised by vivid colours, dense textures, and structural depth, evokes a sensorial aura of life that persists even after scorching heat, ashes, and thick smoke.