ART BASEL HONG KONG 2025

  CHEN Yujun (b. 1976) is one of the influential artists in Chinese contemporary art. His works closely connect emotions between his hometown and the individual, exploring themes of family, identity, and space through the immigrant experience passed down across generations. Known for his complex use of mixed media, his works carry deep humanistic concerns and rich meaning. Chen grew up during a time when Chinese society underwent profound historical transformations. Through meticulous reflection and exploration, the relationship between personal identity and the natural and cultural environment increasingly became a driving force behind his creative work. His artwork spans themes from his hometown’s Mulan River to the Mother River that nurtures Asia and the world. His imagination and brushstrokes symbolically follow the footsteps of early overseas Chinese who left their homelands. The artist seeks answers regarding self-redemption and the direction of human nomadic life towards a distant future. L'Étranger is a new series of mixed-media works created by Chen Yujun in recent years, combining the medium of photography with improvisation and the narrative techniques of traditional painting. The theme draws inspiration from the French writer Albert Camus' novel of the same name, reflecting the deep thoughts on the differences in moral judgment in different human circumstances, and co-constructing a surrealistic scene of reality.

  Born in 1976 in Putian, China, Chen Yujun currently resides and works in Shanghai. A graduate of the China Academy of Art in Hangzhou, one of China’s top art institutions, he uses various media such as painting, collage, drawing, and sculpture to freely express both the story of Chinese society and his personal narrative. He has held solo exhibitions at the West Bund Art & Design Fair in 2023 and 2022, the Guangdong Museum of Art (2021), Arario Gallery Seoul (2020), Tang Contemporary Art (2019), and in 2021, a large-scale solo exhibition at the Long Museum in Shanghai. He has also participated in group exhibitions such as the Beijing Minsheng Art Museum (Beijing, 2019/2017/2015), Kuandu Museum of Fine Arts (Taipei, 2018), OCT Contemporary Art Terminal Shanghai (Shanghai, 2017), Guan Shanyue Art Museum (Shenzhen, 2013), Groninger Museum (Groninger, 2013), Galeri Nasional Indonesia (Jakarta, 2013), Ullens Center for Contemporary Art (Beijing, 2013), Veneto Institute of Sciences, Letters and Arts (Venice, 2012), Times Art Museum (Beijing, 2010), etc. Chen Yujun's works are housed in prominent institutions such as the Arario Museum (Seoul), Brooklyn Museum (New York), DSL Collection (Paris), Guangdong Museum of Art (Guangzhou), He Art Museum (Foshan), Long Museum (Shanghai), Los Angeles County Museum of Art (Los Angeles), M+ Sigg Collection (Hong Kong), TANK Shanghai (Shanghai), White Rabbit Collection / White Rabbit Gallery (Sydney), Yuz Museum (Shanghai), etc .

  CHEN Yufan (b.1973) explores themes of individual, existence, repetitive labour, and social order, creating fluid spatial compositions that invite viewers into open realms of imagination. His works are deeply influenced by his memories of his hometown, Mulan Stream, as well as his migration experiences and reflections on the evolution of tradition. His paintings merge memory and reality, capturing ambiguous impressions and sensations that strip away concrete forms, leaving only their essential spirit. This indistinct quality brings his work closer to the fundamental nature of abstract painting, extracting the essence from the tangible and every day.

  In A Cut Landscape series, CHEN employs a structured arrangement of circular forms. By controlling his visual scope and emotional intensity within a limited range, he presents the texture of time through repeated superposition and polishing. The juxtaposition of circles within his compositions serves both as focal points of visual convergence and as metaphors for the fragmented and disconnected reality of the contemporary information age. This series also embodies the spatial and temporal duality of 'objects’, reflecting the artist’s distinctive perspective on these tensions.

  Born in Putian, Fujian, China, CHEN Yufan graduated from the School of Fine Arts at Fujian Normal University in 1997 and later completed a postgraduate program in Comprehensive Art at the China Academy of Art in 2007. He currently lives and works in Shanghai. He has held solo exhibitions at institutions such as AYE Gallery (Beijing), Pearl Lam Galleries (Hong Kong), Tang Contemporary Art Center (Bangkok, Hong Kong), Asia Contemporary Art Space (Taipei), Petach Tikva Museum of Art (Israel), and Arario Museum (Jeju, Korea). His work has also been featured in group exhibitions at Tank Shanghai Art Center, OCT Contemporary Art Terminal (Shenzhen), Chulalongkorn University Art Center (Bangkok), Groninger Museum (Netherlands), National Gallery of Indonesia, Ullens Center for Contemporary Art (Beijing), and Gwangju Museum of Art (Korea).His works are part of major public and private collections, including Arario Museum (Seoul), White Rabbit Collection (Sydney), M+ Sigg Collection (Hong Kong), Tank Shanghai Art Center (Shanghai), Long Museum (Shanghai), and Ullens Center for Contemporary Art (Beijing). CHEN Yufan’s artistic practice continues to bridge the past and present, reality and abstraction, offering viewers an opportunity to engage deeply with the conceptual and visual landscapes he constructs.

  Subodh GUPTA (b. 1964), a renowned contemporary artist from India, expresses his concerns about sociocultural realities in Asia through various media, including sculpture, installation, painting, video, and performance. Under the guiding principle that ‘the most ordinary things are the most sacred’, he transforms familiar objects into monumental forms, resonating with the global art community across borders. GUPTA's works deeply reflect on themes such as rapid urbanization, globalization, and cultural hybridity. He has built a unique artistic world using everyday objects commonly found across India, such as steel tiffin boxes, thali pans, bicycles, and milk cans. His works explore specific objects and places, and the memories, senses, and experiences associated with them. Through these ordinary items, GUPTA reveals a sense of silence and employs an aesthetic marked by minimalist forms, lines, and structures. His sculptures utilize and express these everyday objects, continuing his exploration of their significance.

  Subodh GUPTA has recently exhibited at Nature Morte(Mumbai, India, 2024), Le Bon Marché Rive Gauche(Paris, France, 2023), Cipriani A Belmond Hotel(Venice, Italy, 2022). GUPTA’s works has also been exhibited in museums and galleries worldwide, such as Monnaie de Paris(Paris, France, 2018), Warwick Art Center(Coventry, UK, 2017), National Gallery of Victoria(Melbourne, Australia, 2016), Victoria & Albert Museum(London, UK, 2015), Museum für Moderne Kunst Frankfurt am Main(Frankfurt, Germany, 2014), National Gallery of Modern Art(New Delhi, India, 2014), Kiran Nadar Museum(New Delhi, India, 2012), and the Sara Hildén Art Museum(Tampere, Finland, 2011). GUPTA has previously held solo exhibitions at ARARIO GALLERY(Seoul & Cheonan, Korea, 2010) and ARARIO GALLERY(Beijing & Shanghai, China, 2008). Subodh GUPTA’s works are a collection in important museums and galleries such as Fondation Louis Vuitton, Paris, France; National Gallery of Modern Art, New Delhi, India; Centre Pompidou, Paris, France; Fukuoka Asian Art Museum, Fukuoka, Japan and in prestigious internationally famous collections such as Charles Saatchi and François Pinault, as well as ARARIO MUSEUM in Korea. GUPTA’s solo exhibition is held at ARARIO GALLERY SEOUL in September 2024.

  OK Seungcheol (b. 1988) interestingly deals with the issues of originality and uniqueness in the context of post-digital or internet art. His characteristic original work, made by using a computer as his primary tool, is a vector image. It is an output on a unique platform in various media and formats such as sculpture, painting, and video. Moreover, the artist transforms the so-reproduced digital image again into a regular form of painting, sculpture, and video work. In this regard, the process of Seungcheol Ok’s work itself, as Jean McHugh says, re-contextualizes the customs of art with the customs of the Internet- drawing forth several questions about the requirements of contemporary art. OK Seungcheol’s works not only explore shifts in perspective but also tend to depict the essence itself with subtle variations. These differences are created in a manner similar to a character creation system in video games, where only specific elements—such as hair or skin color—are altered. In fact, his work Irochi appears to reference trophy Pokémon, an extremely rare phenomenon in games like Pokémon. It represents a mutation that can only be produced within a system meticulously structured to fit within memory constraints—maintaining the same perspective, the same movement, and the same character while introducing minimal but significant alterations.

  OK Seungcheol lives and works in Seoul. He has held solo exhibitions including Planarian(PARCO MUSEUM TOKYO, Tokyo, 2024), CAMOUFLAGE(TUESDAY TO FRIDAY, Valencia, 2024), TROPHY(KICHE, Seoul, 2023), 2022 Art Sonje Project #2: Create Outlines(Art Sonje Center, Seoul, 2022), JPEG SUPPLY(KICHE, Seoul, 2020) and UN ORIGINAL(KICHE, Seoul, 2018). The artist has staged various group exhibitions such as Non-Newtonian Fluid(CYLINDER TWO, Seoul, 2024), Smooth Stone Field 2(Schema Art Museum, Cheongju, 2023), DMZ Exhibition: Checkpoint(DMZ Paju, Paju, 2023), Spirals, Loops, Mutants(K11 Shanghai, Shanghai, 2023), Linked(Gallery Func, Shanghai, 2022), Aftereffect(Nook Gallery, Seoul, 2022), Trauma: Shooting the Pulitzer + 15minutes (Daejeon Museum of Art, Daejeon, 2021),  The Promised Land at The Great Collection(Seoul, 2021), IRL at Unit London (London, 2020), Yes/No/Like/Dislike/Love/Hate/Reply/Share: The Portrait of Korean Pop Culture 2000-2020 at Art Delight(Seoul, 2020), Pop/Corn at the Daegu Museum of Art (Daegu, 2019) and Triangular Zone at Platform L Contemporary Art Center (Seoul, 2019).

  Kohei NAWA (b. 1975) presents a multilateral work based on his diverse practice that examines the relationship between nature and artificiality, paying attention to the association between the individual and the whole. In NAWA's work, organic forms invariably become stylized and artificial, displaying the parts accumulated together as a whole, like cells, creating complex and dynamic structures.

  Direction is part of a series of Kohei NAWA's planar works. In this series, the canvas is first set vertically and then tilted at a 15-degree angle. Ink is then dripped from the edge of the canvas, and through its movement, it forms dots, lines, and planes. The ink, designed to have a specific viscosity, slowly descends on the surface, cutting across the square grid of the canvas at the fixed angle, thereby visualizing gravity as it directs the movement and speed of the liquid material. The sculptures in the Ether series are made through 3D modelling a drop of highly viscous liquid in various stages, as it falls and hits the floor. The form is traced out of the elastic tendency of a liquid droplet, through studies of photographed droplets and observations of the poured liquid with a high viscosity. The obtained silhouette is rotated in 3D, mirrored vertically, and stacked in random sequences. Erected like an infinite column, the sculpture is designed to create a speculative state of weightlessness by the effects of opposite forces, i.e. gravity and counter-gravity.

  Kohei NAWA has held solo exhibitions at prestigious art institutions including Pace Gallery(Seoul, Korea, 2023), ARARIO GALLERY(Shanghai, China, 2022; 2017; 2015), Pace Gallery(New York; Palo Alto, US, 2022), Louvre Museum(Paris, France, 2018), Kirishima Open-Air Museum(Kagoshima, Japan, 2013), Museum of Contemporary Art Tokyo(Japan, 2011), Vera Munro(Hamburg, Germany, 2009), Joan Miro Foundation(Barcelona, Spain, 2008), and more. He has participated in group exhibitions at the Pace Gallery(Tokyo, Japan, 2024), Queensland Gallery of Modern Art(Australia, 2024), Museum of Contemporary Art Tokyo(Japan, 2023; 2014), National Gallery of Art(Washington D.C., US, 2019), Centre Pompidou-Metz(France, 2017), F-Art House(Okayama, Japan, 2016), ZKM(Karlsruhe, Germany, 2016), La Maison de la Culture du Japon à Paris(Paris, France, 2015), ArtScience Museum(Singapore, 2015), and more.

  LEE Jinju (b. 1980) delicately depicts uncanny and strange scenes, objects, and landscapes she encounters in her daily life, applying the coloring techniques of East Asian painting with water as a medium. The way she takes the time to observe and delicately depict figures surrounded by gentle light is close to Joseon portraiture in terms of technique. Self-driven to touch upon the female body and inner life, which were not explored in depth in traditional painting, the figures in her works are subverted by their blindfolded appearance, their backsides, and the gestures of their hands. Her works open up landscapes where memory and the unconscious, truth and fiction, and frozen time coexist. Every object and person that appears in her work contains the artist’s gaze, rejuvenating the memories in the process of encounter, and the canvas becomes the intermediate zone where boundaries between life and death, underground and surface, day and night are transcended, and the overlapping layers of dense metaphor unravel and sustain a fragmented and shattered world. LEE proposes a differentiated experience of the ‘way of seeing’ within the form of painting, and her ‘shaped canvas’, which represents time, space, and perspective, offers a way to delve into the intricacies of the numerous stories within a grand landscape. LEE’s ‘black painting’, in contrast, portrays body parts such as hands and faces emerging from the pitch-black darkness, focusing on fragmented subjects in a more eerie manner with dramatic results. The details that emerge in LEE’s work go beyond simply replicating the subject; they capture the artist’s gaze towards the subject and the attitude cultivated through extensive observation.

  LEE Jinju has held solo exhibitions at ARARIO MUSEUM Tapdong Cinema(Jeju, Korea, 2022-2024), ARARIO MUSEUM in SPACE(Seoul, Korea, 2020), Triumph Gallery(Moscow, Russia, 2019), Edwin's Gallery(Jakarta, Indonesia, 2018), and ARARIO GALLERY(Seoul, Korea, 2017), among others. LEE has also participated in group exhibitions at numerous venues including Esther Schipper(Berlin, Germany, 2024), Marres, House of Contemporary Culture(Maastricht, The Netherlands, 2022), White Cube(Seoul, Korea, 2023), SONGEUN(Seoul, Korea, 2023 and 2022), Jeju Museum of Art(Korea, 2023), Korea Cultural Center(Brussels, Belgium, 2021), National Museum of Modern and Contemporary Art(Seoul, Korea, 2021), Jeonnam International Sumuk Biennale(Korea, 2021), Museum of Moscow(Russia, 2021), ARARIO GALLERY(Cheonan, Korea, 2021), Gyeongnam Art Museum(Changwon, Korea, 2021), Asia Culture Center(Gwangju, Korea, 2019), Gangwon International Biennale(Korea, 2018), Seoul Museum of Art(Korea, 2015), Doosan Gallery New York(New York, US, 2013), OCI Museum of Art(Seoul, Korea, 2011), Ilmin Museum of Art(Seoul, Korea, 2010). LEE Jinju received Second Prize of JoongAng Fine Arts Prize in 2009 and Second Prize of SONGEUN Art Award in 2014. LEE's works are in public collections in Korea, in the National Museum of Modern and Contemporary Art, Seoul Museum of Art, Gyeongnam Art Museum, ARARIO MUSEUM, SONGEUN Art and Cultural Foundation, and OCI Museum of Art. LEE jinju has held a solo exhibition at YUZ Museum(Hong Kong, China) from January to March 2025.

  KIM Byoungho (b. 1974) is a sculptor who uses metal as his primary material to create sculptures and installations. Based on meticulously planned blueprints, he produces his works within the context of the division of labor in contemporary society's production processes. Kim Byuongho creates his works within a meticulously designed structure, considering the process no different from the production of goods under social norms. His work explores the conflict of individual identity in contemporary society, balancing mechanical precision and aesthetic satisfaction to reveal the fetishistic nature of modern culture. The series of Vertical Garden combines the verticality of modern cities with the concept of a garden as artificial nature. The fruit-like forms at the ends of the straight lines create a unique balance, paradoxically emphasizing the distinct aesthetics found within landscapes shaped by human civilization.

  KIM Byoungho graduated from Hongik University’s College of Fine Arts in 2000 and began exploring art engineering in 2002. He earned a Master’s degree in Technology Art from Chung-Ang University’s Graduate School of Advanced Imaging Science, Multimedia & Film in 2004. His solo exhibitions have been held at the Cheongnamdae Hosuyeong Art Museum (Cheongju, Korea, 2024), K11 Art Center (Shenyang, China, 2022; Wuhan, China, 2023), WWNN (Seoul, Korea, 2023), ARARIO GALLERY (Seoul, Korea, 2024, 2011; Cheonan, 2013; Shanghai, China, 2018), Soma Museum of Art (Seoul, Korea, 2010), and Gastatelier der Stadt Frankfurt am Main (Frankfurt, Germany, 2009). Additionally, his work has been featured in group exhibitions held at institutions such as Pohang Museum of Steel Art, Ewha Womans University Museum, Can Foundation, Gyeongju Solgeo Art Museum, Amorepacific Museum of Art, Seoul National University Museum of Art, POSCO Art Museum, and the Saatchi Gallery (London, UK). The artist's works are included in the collections of prestigious institutions such as the National Museum of Modern and Contemporary Art (Korea), Amorepacific Museum of Art (Korea), KulturPortal Frankfurt (Germany), Seoul National University Museum of Art (Korea), ARARIO MUSEUM (Korea), Government Complex (Korea), Shanghai Panlong Tiandi (China), New World Development (Hong Kong), and Hyundai Motor Company (Korea).

  Yuki SAEGUSA (b. 1987) is a painter who experiments with various materials and techniques, primarily focusing on oil and tempera. The scenes depicted on her canvases originate from the idea of “a place that exists in the mind of the individual but is nowhere to be found.” Combining everyday experiences and memories with her imagination, SAEGUSA presents unique landscapes of a virtual world depicted with realistic precision. Pneuma is a work in which the artist, inspired by the concept of pneuma in ancient Greek philosophy and medicine—meaning ‘breath’, ‘wind’, ‘spirit’, or ‘soul’—visualizes the intangible flow and energy of the world and explores it through artistic expression. SAEGUSA references traditional Japanese Sansui-ga and Northern European Flemish paintings in her practice, attempting to merge both Eastern and Western styles onto the canvas. Her landscapes, rooted in the scenery of her hometown, Azumino City (安曇野市), evoke the compositional techniques of Eastern landscape painting, which incorporate multiple perspectives in a single frame, while also recalling the detailed depictions and mysterious narratives of Flemish painting. In these meticulously constructed landscapes, tiny anime-like figures sometimes appear; projections of both the artist and the viewers. Manga and anime, being the closest forms of art to SAEGUSA since childhood, have naturally influenced her artistic practice, including her use of tools such as manga pens and the incorporation of shapes reminiscent of anime characters.

  Yuki SAEGUSA was born in Nagano Prefecture, Japan, in 1987. After graduating from the Oil Painting Department at Nagoya University of the Arts in 2010, she currently resides and creates her artwork in Kitanagoya, Aichi Prefecture, Japan. She has held solo exhibitions at various institutions such as ARARIO GALLERY (Seoul, Korea, 2024), Gallery A (Shizuoka, Japan, 2022), Yebisu Art Labo (Aichi, Japan, 2022; 2017; 2013; 2012), as well as group exhibitions held at ARARIO GALLERY SEOUL (Seoul, Korea, 2024), Bunkamura Gallery (Tokyo, Japan, 2023), ARARIO GALLERY SHANGHAI (Shanghai, Korea, 2022), Ginza Tsutaya Books (Tokyo, Japan, 2021), Nagoya Denki Community Hall (Aichi, Japan, 2017) and more. Her works are held in collections by institutions including Nagoya University of the Arts (Japan), ARARIO MUSEUM (Korea).

  Born under Japanese occupation, PARK Seo-Bo (1931-2023) is known as one of Korea’s most significant early modernists as well as a vital interlocutor of Korea’s cultural history. In the 1950’s he was one of the first to introduce abstraction into what was then a very conservative art world, balancing tradition with the rising influence of the West. PARK’s steadfast commitment to pushing boundaries and embracing new vocabularies of expression has consistently resulted in new and influential bodies of work widely heralded both in Korea and abroad.

  First developed in 1967, Ecriture is an ongoing series of monochromes in which PARK covers his canvas with a single color and manipulates the still-wet surface with repetitive, carving gestures—actions that resemble the writing of a script. While in earlier works he used a pencil or stylus to create these repetitive marks, beginning in the 1980s he introduced Hanji paper into the series, layering and scraping the pulp on the wet surface to create a unique sequence of sculptural lines that seem to float on top of the canvas. The resulting relief paintings stimulate the viewer’s perception, evoking architectural space and the phenomenology of seeing. Art historian Alexandra Munroe has characterized this work as embodying an “ecstatic minimalism.” In the early 2000s PARK expanded his neutral pallet and began using vibrant colors in his works influenced by the grandeur of nature.

  PARK Seo-Bo has been widely celebrated throughout his career for championing Korean art, and was awarded the Artist of the Year prize from the Korean Fine Arts Association in 2008 and the Silver Crown Cultural Medal in Korea in 2011. His work has been exhibited internationally, including the Venice Biennale (2015, 1988), Samsung Museum of Art, Seoul (2014), Busan Museum of Art (2010), Portland Museum of Art, Oregon (2010), Singapore Art Museum (2008), Kunsthalle Wien, Vienna (2007), The Miyagi Museum of Art, Sendai (1993), Tate Liverpool (1992), Brooklyn Museum, New York (1981), and Expo ’67, Montreal (1967). His work is included in the collections of the Hirshhorn Museum and Sculpture Garden, Washington, Solomon R. Guggenheim Museum, New York, M+, Hong Kong, Guggenheim Abu Dhabi, UAE, The National Museum of Contemporary Art, Seoul, and the Museum of Contemporary Art, Tokyo, amongst

others.

  GWON Osang (b. 1974) is a sculptor who continually questions the identity of sculpture, delving into new structural forms and experimenting with the fusion of different media. His body of work has evolved into five distinct series: 'Deodorant Type,' 'The Sculpture,' 'The Flat,' 'New Structure,' and 'Relief.' Among them, the Deodorant Type series challenges the conventional notion that sculptures must be heavy by creating forms with Iso Pink, reinforced Styrofoam. The surface of these sculptures is covered with hundreds of photographs, either taken or collected by the artist, thus advocating for lighter sculptures while simultaneously introducing new materials and expanding the discourse on sculpture. Composition is an homage to Henry Moore's Reclining Figure, incorporating the artist's unique method of image collection and playful collage to present a distinctive sculptural aesthetic. Additionally, GWON Osang's representative photo-sculpture bust series, Helmet Head, was inspired by Henry Moore’s helmet sculptures, which explored the interior and exterior of objects, and reflects the artist’s interpretation of the role of “holes” in contemporary abstract sculpture.

  GWON Osang was born in Seoul, Korea, in 1974. GWON graduated from the Department of Sculpture of Hongik University College of Fine Arts in 2000 and obtained his master's degree from the graduate school of the same university in 2004. He has held solo and collaborative exhibitions at Lotte Avenuel Art Hall (Seoul, Korea, 2023), Ilmin Museum of Art (Seoul, Korea, 2022), Suwon Museum of Art (Suwon, Korea, 2022), ARARIO GALLERY (Seoul, Korea; Shanghai, China, 2016), among others. His solo exhibitions have been showcased worldwide at venues such as Hermès (Sydney, Australia, 2016), Waterfall Gallery (New York, US, 2016), Okinawa Contemporary Art Center (Okinawa, Japan, 2015), Joyce Paris (Paris, France, 2014), HADA Contemporary (London, UK, 2013), Manchester Art Gallery (Manchester, UK, 2008). Group exhibitions showcasing his works have been held at ARARIO GALLERY (Seoul, Korea, 2024; 2023; 2018; 2014; 2011; 2010), Gyeongnam Art Museum (Changwon, Korea, 2023), V&A Museum (London, UK, 2023), The Shop House (Hong Kong, 2022), Seoul National University Museum of Art (Seoul, Korea, 2021), Daelim Museum (Seoul, Korea, 2020), Pohang Museum of Steel Art (Pohang, Korea, 2020), Lotte Museum (Seoul, Korea, 2019), National Museum of Modern and Contemporary Art (Seoul, Korea, 2015), Singapore Art Museum (Singapore, 2014), Saatchi Gallery (London, UK, 2010), Burger Collection (Berlin, Germany, 2009), Bologna Museum of Modern Art (Bologna, Italy, 2004), and FOAM (Amsterdam, The Netherlands, 2003). In addition, GWON has collaborated with various brands such as Riot Games, Jaguar, BMW, Wooyoungmi, and Hermès to bring contemporary art closer to the public. His works are part of the collections at institutions including the MMCA (Korea), Seoul Museum of Art (Korea), Busan Museum of Art (Korea), and Leeum Museum of Art (Korea).

  AN Gyungsu (b.1975) has been focusing on suburban sceneries for over a decade. He seeks out and experiences scenes that either fail to become landscapes or strive to be. These temporary and variable scenes are interpreted as "floating landscapes." AN captures piles and objects pushed to the margins from the center of these scenes in his works. He brings the canvas to the actual locations, overlaying it onto the real landscape to create photographic records. Having lived in various places, he pays attention to site-specific landscapes and phenomena, defining the paintings themselves as a new layer and attempting to connect them with the real place. The artist translates the embodied senses he experiences while following the sediments of landscapes into the language of painting. These unique scenes, "too insignificant to sweep up but too bothersome to ignore," move and disappear like floating dust, repeatedly revealing themselves. AN carefully observes and slowly represents the sensations beyond each object and scene through painting. According to him, "All the landscapes around us are those where such sediments slowly accumulate."

  AN Gyungsu was born in Busan, Korea in 1975. He has held solo exhibitions at Pibi Gallery (Seoul, Korea, 2021; 2019), Sahng-up Gallery (Seoul, Korea, 2018), Gallery Chosun (Seoul, Korea, 2016), Gallery Hyundai Window Gallery (Seoul, Korea, 2014) and more. He has participated in group exhibitions at ARARIO GALLERY SEOUL (Seoul, Korea, 2024), Incheon Art Platform (Incheon, Korea, 2023; 2017; 2012; 2011), Arko Art Center (Seoul, Korea, 2023), Total Museum of Contemporary Art (Seoul, Korea, 2020), SeMA Nanji Residency (Seoul, Korea, 2019), Seoul Museum of Art (Buk-Seoul) (Seoul, Korea, 2017), Gyeongnam Art Museum (Changwon, Korea, 2017), Sungkok Art Museum (Seoul, Korea, 2015), MMCA Residency Goyang (Goyang, Korea, 2010) and more. He was the artist-in-residence at the MMCA Residency Goyang in 2009, Gyeonggi Creation Center in 2016, and the SeMA Nanji Residency in 2019. His works are collected by various institutions including the MMCA (Korea), Seoul Museum of Art (Korea), Busan Museum of Art (Korea).