Kang Soolsaeng, an eco-artist born in Jeju, Korea in 1970, is deeply interested in the existence of living organisms, the natural processes of nature, and the transition of artificial elements into natural ones. Recently, she has immersed herself in farming to illustrate, through her art, the intricate interconnections among a myriad of life forms. Her paintings, photography, video, and installation works depict the process of planting native seeds and harvesting the fruits in accordance with the cycles of the sun and moon. This exploration began with her eco-art project, A Child in the Island and the Ladybug (2004) and took deeper root with The Ladybug Becomes Flowers (2005). Amid the endlessly deferred end to the COVID-19 pandemic in 2021, she presented The Seed’s Hope, in which she counted the number of hopes contained in the seed. Eco-art is the art of life, probing the coexistence of nature and humankind and interpreting intrinsic human nature. In order to become physically, mentally, and socially healthy, we have an experience of identifying with many different living things. Nature should not be merely perceived as a picturesque view but should be understood as an emotion deeply ingrained in our being. Recognizing our existence as a part of the natural world, we should surrender to life's organic rhythms. Such perspectives permeate Kang's collaborative works like Stone Sprouts After Rain (2020-2021, World Heritage Festival Art Project) and 108 Walking Drawing: Kang Soolsaeng and Kim Misook's 108-day Records (2023). The artist’s contributions extend to various exhibitions, including Daecheong Lake Environmental Art Festival – The Time of Water: 43 Springs (2023), Jeju Biennale: Flowing Moon, Embracing Land (2022), and Geumgang Nature Art Biennale: Again, Multiplicities of Rewilding (2022).

Soh Hyun Park initially pursued fashion design at the School of the Art Institute of Chicago. She is now actively creating drawings and installations that stem from her foundation in drawing. For Park, emotions and experiences serve as the primary catalysts for initiating her artworks. While her earlier pieces were marked by a strong visual emphasis, since 2017, she has shifted her focus to the visualization of the physical and psychological aging processes in humans. Her portfolio during this period includes three-dimensional and two-dimensional works that employ a variety of media, such as charcoal, knitting, human hair, crumpled paper, paper folding, and Photoshop in order to represent physical aging. At present, Park is investigating the biases formed by psychological aging. She experiments with the disparity between sight and perception through the magnification and expansion of images, ultimately probing the point where existing biases are either reconstructed or dismantled. Her process involves selecting an image, dissecting it into small segments, and enlarging the grids to an extent where they resemble pixels. Park is currently working on a series of drawings where these magnified sections are reinterpreted into novel pixel configurations. This technique reveals aspects of images that remain hidden until enlarged, unveiling the previously imperceptible side of the images. Often, these fragments are derived from a single source image; by presenting them collectively, Park engages with the act of seeing, and perceiving, the whole as well as the parts.

Kim Jeesoo expands her innate sensitivity to smell into a form of synesthetic expression, creating an artistic realm in which olfaction interacts fluidly with other senses. She perceptively captures the subtle currents and energies inherent in living organisms and specific sites, translating the air and traces that linger in certain environments into a new sensory vocabulary.Kim Jeesoo has collected scents from various plants, animals, objects, and even the distinct personal fragrances of those close to her. This sensory archive awakens olfactory imagination and serves as a conduit linking time, memory, and embodied perception. Her father’s study and garden, in particular, remain formative spaces where her artistic sensibility was deeply shaped and where her olfactory practice first emerged.Kim Jeesoo collaborates with scientists, architects, dancers, musicians, and specialists across diverse fields, translating the layered associations of scent into painting, installation, video, and text. Her major solo exhibitions include To Become Fragrance (Kumho Museum of Art, 2025) and Smellscape (Space CAN, 2023). She has also participated in numerous institutional exhibitions at the National Museum of Modern andContemporary Art, Korea (MMCA); SongEun Art Space; Savina Museum of Contemporary Art; and the Daejeon Museum of Art.She is the author of the artist book Smellscape (2023) and has published academic studies including “A Study on the Synesthetic Expression of Smell” (Journal of Korea Society of Basic Design & Art, 2020) and “A Study on Smell, Memory, and Temporality” (Journal of Korea Society of BasicDesign & Art, 2020), both of which articulate the theoretical underpinnings of her sensory-based practice.In 2021, Kim was selected by the National Museum of Modern and Contemporary Art, Korea (MMCA), as one of the country’s representative figures in ecological art; this recognition is documented in the museum’s publication The Evolution and Status of Korean Ecological Art (2021).

LEE Jinju studied East Asian painting and she delicately depicts uncanny and strange scenes, objects, and landscapes she encounters in her daily life, applying the coloring techniques of East Asian painting.

Bomi Hong begins from places deemed valueless within the criteria of art, using drawing as a methodological attitude to explore these sites and keep the question “What is art?” open. For her, drawing is both a tool of thinking and a practice of relation, expanding into installation, video, books, and painting. Early works involved entering everyday environments—creating museums with children on islands and in mountain villages without art museums, and turning object exchanges with residents of Yeongdeungpo’s jjokbang-chon into art projects. Later, 14 months of work as a museum cleaner led to the ongoing series Museum Drawing (2019–) and to Busan Biennale Box (2022), where catalogues, posters, and objects were placed inside boxes made from flipped canvases to foreground the boundary around an empty interior. Most recently, she has collaborated with low-vision students at Busan School for the Blind, seeking other ways of seeing along the path to the art museum, regarded as a “sanctuary of the visual world.”

Choi Euncheol focuses on the instability of contemporary society and the cyclical structure of civilization, developing his practice through diverse media such as drawing, sugar installations, and video. His works address issues such as social polarization, climate change, political conflict, and the decline of material civilization, visually exploring the parallels and gaps between opposing concepts. In particular, Choi actively employs sugar a material with mutable physical properties as a metaphor for the transience of civilization, revealing the layered nature of time through its transformation. The artifacts and structures made of sugar gradually dissolve and disappear, metaphorically reflecting the fragility and impermanence of human civilization.

Jinseung Jang is an artist, explores the possibility of mutual understanding that can overcome the biases and forms of discrimination embedded within human -being. His work critically examines the relationships between human, society and technology, grounding this inquiry in a phenomenological approach to perception and cognition. Employing digital and analogue data visualisation, audiovisual archives, moving image and installation, he constructs multilayered environments that investigate the intersections of past, present and near-future experiences.Jang studies how technological development reshapes thought and identity, revealing how our sense of reality shifts through constant interaction with computational systems. By engaging the linear narrative structures of video and animation, he explores the interplay between sensory experience and information, inviting viewers to participate as active interpreters rather than passive observers. His practice interrogates how prejudice operates not only within individuals but also within social systems, proposing aesthetic strategies for imagining alternatives. Ultimately, Jang traverses the boundaries between technology and art, the human and the nonhuman, offering a visual and conceptual space through which new forms of perception and understanding can emerge.

Ipkyu Jang was born in Yangpyeong, Gyeonggi-do, in 1984. He graduated from the Department of Environmental Sculpture at the University of Seoul in 2010 before studying fine art at Kunstakademie Duesseldorf in Germany, where he earned his Diplom and Meisterschüeler under the guidance of Professor Marcel Odenbach in 2017. The predominant materials and subject matter for Jang’s works stem from his individual observations of everyday objects, spaces, and occurrences. Unleashing his unique imagination, the artist defamiliarizes these elements, evoking new visual perspectives and crafting ironic situations or artworks. By challenging widespread conceptions associated with an object and reinterpreting the dynamic relationships between concepts and ideas, his works invite novel perspectives, flexible ways of thought, and the ongoing conceptual expansion. Jang also approaches his work with a light-hearted seriousness, maintaining an earnest tone without being somber.

Yuri An is interested in how the lives of individuals are defined and transformed by communities and nations amidst historical and political shackles. She listened to lost words and stories while exploring how past events are connected or collided with the present phenomena. She uses media that can move freely in space and time, such as text, video, and sound, and has been working on the “Korean Diaspora Project” since 2016. She graduated from Gerrit Rietveld Academie in Amsterdam, the Netherlands, and came back to Korea in 2014. Yuri An was selected as Emerging Artists 2015 of Seoul Museum of Art>, then held her first solo exhibition The Unharvested Sea(Art Space Pool, Seoul, 2015). She participated in selected group exhibitions: How little you know about me(MMCA Seoul, 2018), ARTSPECTRUM 2022(Leeum Museum of Art, Seoul, 2022)