HWANG InRan
Hwang InRan is a Seoul-based painter whose sumptuous allegorical paintings explore themes of self-examination and reflection. Hwang's paintings consist of solitary female figures before a luridly floral background. The figure is an idealized image of an individual in a moment of contemplation; her stoic countenance rendered in muted tones stands in striking contrast to the exuberantly chromatic and densely detailed vegetation behind her, underscoring her seeming solitude. However, she is not alone, as Hwang. paints her to be under the aegis of a bird or a flower. Such organisms, which have symbolic significance in East Asian art—the hawk of power, the peacock of love, and flowers of beauty—are meant to be protective emblems for not only the pensive protagonist but also the viewers in their own moments of self-reflection. Hwang InRan (b. 1972, South Korea) lives and works in Seoul, Korea. She received her MFA from Hong-Ik University and her BFA from Gangneung-Wonju National University.. She has had dozens of solo exhibitions throughout Korea and has participated in numerous group shows in Korea and abroad. She is also currently teaching as an adjunct professor at the Baekseok College of Arts in Seoul. 
KIM JinWon
Seoul-based artist Kim JinWon creates hauntingly luminous and immersive paintings that evoke the infinite expanse of the universe. There exists a quiet numinousness to Kim’s art that is engendered through her deliberative and meditative process. She fills the canvas with layers upon layers of delicate wisp-like strokes in a manner reminiscent of pointillism and divisionism. The careful juxtaposition and layering of repeated colors not only heightens the luminosity of her hues but also begets greater dimensionality and seeming movement to her art, creating an effect as though the painting itself is alive and gently breathing. To this kaleidoscopic expanse of pure colors, Kim then adds two lines and a sphere, minimally suggestive of a solitary figure standing at the edge of the horizon contemplating the infinite beyond.
Kim Jinwon (b. 1961, South Korea) lives and works in Seoul, Korea. She received her BFA and MFA from Hong-Ik University. She has had over a dozen solo exhibitions in Korea and has participated in numerous group shows in Korea and abroad. She is also a member of the Korean Fine Arts Association.
LEE DooWon
Lee Doowon is a self-taught artist whose vibrant autobiographical paintings explore themes of nature, identity, and storytelling. Lee’s practice is intuitive and anchored in the personal; working by instinct without any preliminary sketches or underdrawings, he paints scenes from his daily life in Korea while incorporating folk motifs, found objects, and textiles encountered in his travels. Filling the canvas with curious creatures, polychromatic flora, and whimsical machinery, Lee reimagines a world in which nature and modernity coexist in playful harmony.
Lee DooWon (b. 1984, South Korea) lives and works in Yeoncheon, South Korea. Hailed as one of the brightest emerging talents from Korea, Lee has exhibited extensively in Korea and abroad and was also the first artist to have been selected for “Korean Eye: 2020”, a group exhibition presented in collaboration by the State Hermitage Museum in Saint Petersburg and Saatchi Art Gallery in London. His works can be found in public and private collections in Europe, Asia, and the United States. In 2023 he had a solo exhibition at Saatchi Gallery in London and his upcoming projects include a special presentation at KHaus during Art Basel 2024.
LEE GilWoo
Lee GilWoo is a Korean collage artist and painter who explores themes of creation and destruction through a deeply personal and ritualistic practice of burning incense to forge spectral images of daily life. Lee’s practice is distinct in being simultaneously additive and reductive. He first assembles overlapping layers of Korean mulberry paper, ink wash, and cutouts of newspapers and prints before overlaying a final “screen” in which the subject is rendered by burning a myriad of pinholes with sticks of incense. Although Lee’s singular practice is ritualistic and idiomatic—having been born from his personal experiences of burning incense as a form of prayer for his ill parents—his chosen subject matter tends to be drawn from familiar scenes of everyday life. This contrast between practice and subject as presented by the singed image challenges the viewer to re-encounter the quotidian and the mundane through literal apertures of transformative ritual.
Lee Gilwoo (b. 1967, South Korea) lives and works in Seoul. As a rising contemporary artist in Asia, Lee has had over twenty solo exhibitions in Korea, China, the United States, Japan, and Russia. He has also participated in multiple international art fairs, as well as invitational group exhibitions at various galleries, museums, and other institutions across the world. His awards include Granze Prize at the 2010 Bangladesh International Asia Biennale. His works are in public and private collections throughout the world, including Korea’s National Museum of Modern and Contemporary Art and the private art collection of Chinese actress Fan BingBing.
LEE JongSong
Lee JongSong is a contemporary Korean artist who draws from the millennia long history of clay wall painting in East Asia to create breathtakingly vibrant landscapes that capture the transcendent grandeur of nature. Lee’s art is distinguished in his sui generis modern reinterpretation of traditional wall paintings. Lee first constructs a “clay base” for his paintings by meticulously applying layers of clay plaster made from his own personal formula informed by two decades of research into ancient mural techniques; he then paints hauntingly evocative landscapes using natural mineral, earth, and organic pigments. This painstaking process lends to each work an organic texture and resonance that allows Lee to vividly render the true essence of a pristine terrain pulsating with life and movement.
Lee JongSong (b. 1962, South Korea) lives and works in Seoul. He received his BFA and MFA from Seoul National University. He has presented in forty solo exhibitions in Asia, Europe, and North America and has participated in hundreds of group exhibitions and art fairs throughout the world. His works are found in numerous public and private collections, including Korea’s National Museum of Modern and Contemporary Art, National Museum of Korea, Gyeonggi Museum of Modern Art, Park Soo Keun Museum, and the Korean Embassy in Canada.
SEOSY
SEOSY is an artist whose art engages with eastern philosophical discourses on the nature of existence. A central theme of SEOSY's work is the Buddhist concept of emptiness (Śūnyatā in Sanskrit; 空 in classical Chinese). Buddhism understands all things to be empty in that they lack intrinsic nature or existence; they are instead dependently originated, meaning that the existence of each thing is dependent on the existence of all other things. In this light, the strikingly textured paintings by SEOSY are aesthetic demonstrations of emptiness. A SEOSY painting is empty in that it is not a depiction or representation of any one thing or idea. Rather, it being art comes from the manifold ridges and cracks that arise from the way that the thick mulberry paper has been shaped and formed before being painted with gold leaf; the dendritic patterns that spread out in a labyrinthine manner—folding in and out of themselves seemingly chaotically— provide a visual parallel to the the dense web of interconnections upon which all existence depends. SEOSY's art thus echoes the famous line from the Heart Sutra, "emptiness is form, form is emptiness."
SEOSY is an anonymous artist whose alias is a stylized reading of the Chinese characters 世悟示 which can be read as “revealing enlightenment to the world.” SEOSY lives and works in Los Angeles and Seoul. SEOSY has received not only a BFA and MFA, but also a PhD in historical materials and techniques.