Dowon

Rooted in traditional Korean calligraphy, Do Won’s practice explores how inherited forms resonate within contemporary contexts. While maintaining her core visual language, her experience in Singapore—where cultural traditions and experimental expressions coexist—prompted a deepened reflection on hybridity and relational aesthetics. Rather than shifting her style, this experience opened new perspectives on how materials and structures might be combined in future explorations. Her works underscore how the gestures of tradition can remain vital and dynamic, carrying forward through mindful engagement with the present. She invites viewers to encounter calligraphy not as a static form, but as an evolving visual language—one that bridges historical depth and contemporary sensibility.

Hannami Kim

In San, Hannami explores how sensory experience and emotion become embedded in the act of mark-making. Inspired by Singapore’s lush natural environment, her compositions unfold through a restrained
palette dominated by green and blue—evoking landscapes that oscillate between abstraction and memory. Each work begins with an act of quiet attention: listening, walking, observing. Through these layered and rhythmic compositions, Hannami offers viewers a contemplative field where emotional and visual perception converge. Her meditative landscapes invite us to attune more closely to the subtle interplay between place, memory, and inner reflection—revealing how deeply the natural world can shape human
experience.

Heo On

Heo On’s paintings do not merely depict rooms—they hold them. Each work is a quiet space where light drifts through layers of sensation and settles like sediment at the bottom of time. Her ongoing inquiry centers on how interior spaces serve as vessels of memory and emotion—sites where the ephemeral becomes tangible. During her time in Singapore, the encounter with dense tropical foliage and brilliant southern light opened a new lens through which she explored the relationship between interior and exterior. The forest beyond the window is no longer a neutral backdrop; it becomes a reflection of the inner world—a psychological silhouette where memory and time fold inward. Her rooms, grounded in the present, transform into metaphoric spaces of recollection and introspection. Through this subtle interplay of space, light, and memory, Heo invites viewers to contemplate how environments—both visible and unseen—shape inner experience and emotional resonance.

HEYO

HEYO reinterprets the traditional Turkish Ebru (water marbling) technique into a contemporary visual language—one that treats water as a living medium, responsive and dynamic. Her gestures flow with rhythm and resistance, where each ripple is both chance and meditation, echoing the cycles of nature, time, and human experience. Through these marbled surfaces, she explores thresholds between control and spontaneity, the physical and the emotional, the visible and the unseen. Her experience in Singapore did not alter her method, but deepened her sense of artistic alignment. The city’s cultural plurality reaffirmed her philosophy: that difference and harmony can coexist—like colors floating on water. Each composition becomes a microcosm of coexistence, where forms drift, merge, and reform in an endless dance—mirroring the fluid and ever-shifting nature of contemporary life.

Jaemin Lee

In Island Fever, Jaemin Lee reflects on her experiences navigating shifting geographies from her time studying in Russia to her current life in Singapore. Her works capture the emotional complexities of existing as an outsider the tension between belonging and estrangement, between longing and discovery. Over time, this unease has given way to a broader sense of curiosity and resolve. Rather than retreating into nostalgia, Lee embraces her in between state as fertile ground for artistic growth. Her paintings trace an intimate journey through states of longing, adaptation, and transformation where displacement becomes a source of creative momentum, and the unfamiliar, a catalyst for becoming.

Miel Kwak

Based between Germany and Korea, Miel Kwak’s practice spans painting and mixed media, weaving together fragments of memory, imagination, and sensation into a distinct visual language. Her layered compositions merge childhood motifs, domestic objects, and surreal forms, drawing influence from B-grade aesthetics, cultural hybridity, and the rich symbolism of textile patterns. In her ongoing Melting Nostalgia series, Kwak explores how fabric—particularly those crafted by women—acts as a vessel of memory and emotion. Patterns here are more than decoration; they are tactile records of lived histories, embodiments of cultural continuity and transformation. During her time in Singapore, the city’s intricate cultural fabric resonated deeply with this inquiry. Describing the city as “a vast woven textile layered, intricate, alive,” Kwak translated this impression into her work, allowing it to quietly enter like a newly embroidered motif—subtle yet enduring. Her compositions unfold as kaleidoscopic landscapes: tender, uncanny, and deeply layered, offering viewers a space to consider how personal and collective histories coexist, shift, and evolve within the visual field.

Sunhyeon Kim

Sunhyeon Kim ’s Anima series is composed of delicate eggshell fragments—some from the same source, others unrelated—carefully reconstructed into new configurations. Each installation adapts to its environment, revealing an evolving dialogue between fragility, transformation, and spatial memory. Eggshells—symbols of birth, decay, and vulnerability—serve as poetic vessels of potential and renewal. In reassembling these discarded remnants, Kim honors impermanence while inviting new forms of connection and meaning to emerge. These delicate mosaics, composed through acts of patience and care, suggest that brokenness can be generative—that difference and fragmentation do not diminish unity, but rather expand the possibilities of belonging. Her works remind viewers that through acts of attention and reconstruction, what is fractured can become a site of beauty and relational resonance.