I contemplate myself in silence. As a human, who will still be incomplete until dying, I need to reflect, consider, and be aware of myself as I continue to grow older. I have been attempting to look at myself through an objective lens. The process of my work stimulated me to contemplate my values, attributes, emotions, and thoughts which dominate me and ones which I try to pursue on all such occasions.

Geometric shapes, which I have created and developed for a couple of years, originated from the letters of my name both in the Korean language and the English Alphabet. I looked at all the consonants and vowels as abstract geometric shapes and simplified them; the structures visualized are tools of my own pictorial narratives. All the forms, arrangements, and variations represent myself as well as what all human beings can empathize with. Playing with various arrangements and variations of my shapes, I depict what I feel, consider, and am influenced by my surroundings.

Sora Woo (b.1991) is a visual artist and photographer based in Brooklyn, New York. Her works concentrate on observing the spatial relationship between humans and place. Woo is interested in discovering the threads of human interaction and what occurs after the absence of a person. Woo's photographs capture a moment in the slow process of the passage of time. She not only depicts the passing of time, but also points out the physical and spiritual aspects of the “Irreversible”. Sora received her MFA from Pratt Institute, New York in 2018 and BFA from the School of Visual Arts, New York in 2015.

My practice is situated within the well- known and establish field of minimalism and geometric abstraction, both of which are characteristics of Non-objective art. The combined technical aspects of art making; paint and canvas, composition and color, texture and shape contribute to a non-linear aesthetic practice that presents ideas both within the field of Non-objective art and potentially to the fields with which Non-objective art is related.

My work marries traditional painting and the latent psychological aspects of digital manipulation to explore identity ,transformation, and the sexual unconscious. My images are intimate, even erotic and reference various body parts, some comic, others hideous. They are disturbing but also playful, straddling comedy and tragedy. I am interested in exploring the grotesque as a reflection of my own reality, and these works embody the tensionI feel between the deadly serious and the darkly humorous.

My work has conceptually centered on the body; thinking about self-care, human to human care and also multispecies care, considering what it means to experience corporeality, to not only have a body, but also what it means to be a body. Reframing co-dependency, softness, and vulnerability as potential sites of strength rather than of weakness, I’m interested in framing and experiencing physicality as a shared experience rather than as an individual one. 

Using traditional methods as figurative painter, I am intrigued with painting the fragility and impermanence of everyday scenes. Be it a landscape or a person, I want to document my subjects at frozen moments in space and time, aiming to create a visual counterpart to haiku’s. Just as these are compressed momentous experiences, verbally catching the beauty and simplicity of everyday matters and phenomena; my paintings would provide some visual equivalent. 

Malin Abrahamsson is deeply fascinated by transformation: the process through which a thing, place, state, or being is changed into something entirely different. The organic world is defined by such metamorphosis, and profound existential transformation is no less vital to human life. By its very nature, she see the act of transformation as a creative rebellion against stasis.

Her studio practice is multi-disciplinary, ranging from digital to 2- and 3-dimensions, where concept and context inform my choice of media. She believe aesthetically stimulating environments foster experiential awareness and in her public projects she strive to emphasize and harmonize the meanings of space and place. Ultimately, she seeks to make work that is equally thought-provoking and poetic. 

My influences stem from being raised in the suburbs of southern California, an ideal setting that allures and deceits. I create art inspired by the ideas that provoke such pleasure in being seduced by the familiar and the unknown. 

To me, painting mirrors an illusion that is portrayed in mainstream media. When I paint, I’m recreating an image; it’s a copy of a copy of life. My paintings are scene stills referenced from film/video footage, notable for its alluring concept by glamorizing the ordinary familiarities.

With pleasures only lasting for so long, there is this desire to preserve that feeling that has possessed us. The still itself represents a paused moment and by cap- turing these specific scenes and painting them, it’s reviving a temporary occurrence. 

Sooyeon Yun has an interest in the dual side of human nature and hypocrisy resulted from her highly conservative backgrounds. Her work conveys her personal stories that may become anybody’s story about sexuality, instinct, love, repressed desire, and other secrets. 

She finished B.F.A program in Ewha Womans University, Seoul, South Korea, and complete M.F.A program at Pratt Institute, Brooklyn, New York.  As an emerging artist, she has experienced a lot of group exhibitions and three-time solo exhibitions on international stages.

"Amanda Selinder is a conceptual and visual artist that is based in Stockholm, Sweden. In her artistic research she uses different fermentation processes, natural dyes and growing microorganisms that is living on her own body to investigate the relation between the human and non-human body.  How are we intertwined and how are we communicating with each other is central questions in Amandas work. In the intersection between science and art she is trying to get closer what it really means to be human. By working with living materials that changes over time, she let the viewer be a part of the whole process and aware of the complex ecosystem of the human body seen as a superorganism." 

Sung-Ah Jun’s work evolves from simple initial curiosity. Questions derive from everyday incidents. Big questions branch out into smaller and deeper questions. By making art, she discovers and learns about her and her surroundings.
Her work carries various forms of art such as photography, video, graphic design, painting, installation, sculpture, and silk screening.
Besides other media, exploring in digital media became her recent practice. She believes that experimenting the unlimited potential is an augmentation. 

Yujung Chang was born in 1979 in Seoul, Korea and studied for her MFA in sculpture at Ewha Women's University, Seoul, before graduating from Goldsmiths University, London in 2007.

Chang's work takes many forms - from small, delicately manipulated photographic panels to large - scale installations and interventions – but maintains a clear focus on a set of central concerns: humanity's role in recreating and reimagining the natural world, and the artist's role in shaping memory and devising new realities within our created environment.

Kwantaeck Park is a visual artist based in New York. His art practice intends to counter-balance and compensate for unrealized dreams in society. With a strong interest in the interrelationship between progress and loss, Park finds unexcavated moments in his daily context and transforms them into diverse visual languages. By using a variety of organic, transitory, portable, re-assemblable, and ephemeral forms, Park has created alternative tools, objects, and installations as a method of critique and an invitation for dialog.

Liene Bosquê explores the sensorial experience within architectural, urban and personal spaces, and looks at the relationship between places and people and their influence on one another. Her process often entails creating traces of existing or lost structures and surfaces, using drawing, cutting, dyeing and imprinting techniques to express ideas relating to memory and history. She creates sculpture, installation, site-specific and performances to transform existing rigid structures into subtle forms and materials such as fibers, rust, clay, and wax; among others.

Tanya Chaly was born in Sydney, Australia and currently lives and works in New York City. She is a visual artist and works across a variety of mediums using painting, drawing and printmaking. In her practice she examines ideas of the Natural World; the history of Natural science, notions of nature and classifications of wilderness and the fetishization of Nature. Currently she has been looking at Ecosystems, both the macro and micro relationships within these systems. she creates layers and involved worlds drawing on a wide range of influences from Gothic, Primitivism, Eastern Philosophy, Psychology, and the Natural Sciences.

Yiyang Cao (b. 1991, Hangzhou, China) is an artist based in Brooklyn, NY. Cao works with video, installation and film to explore the perception of time, media, and its affect on people. Studying the contradictions in waiting and entertainment, Cao attempts to provoke dimensional thought on our collective states of waiting and being. Through the investigation of routines, daydreams, and their relationship with events in modern society, Cao’s projects often take the form of social arrangements. Directly engaging with non- traditional audiences outside the art world, Cao has used crowd-funding platforms, film festivals, and waiting rooms as venues.