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Mansion9 Presents Minhee Yang Solo Show: The Coast of the Moon
Poster credit: MANSION9 “Everyone longs for their own moon.”
Minhee Yang, who has previously conveyed deep yearning for loved ones through works like Red Moon (紅月) and Longing Moon (戀月), now turns her gaze toward a broader horizon. Her latest exhibition seeks not only to express personal emotion, but also to offer peace and comfort to all who walk this earth.
Her artistic journey, rooted in expressions of deep personal longing, now expands toward a shared emotional landscape. As she states in her artist note:
“My work is a process of visualizing the psychological relationship between nature and myself. I observe nature solely through the eyes of unconscious experiences intuitively felt in my life. For me, nature is not just a subject—it is a field in which the forms, colors, textures, and compositions become a mirror, where my intuition meets the phenomena of the natural world. This field is a space shaped by the encounter between nature and my inner world, and within it, a shared theme of empathy quietly emerges.”
From the earth we are born, and to the earth we return. Upon the surface of the land, Minhee Yang’s sense of self rises—solid, solitary, and resolute. Her island forms reflect a “will to live,” enduring through clotted pain and emotional weight. Memories long etched into her heart take shape through modeling paste and pigment, as she layers paint only to scrape it away—engraving traces of time into the surface of the canvas. The resulting terrain may appear red or ashen, yet it stands firm and unyielding, a mirror of the artist’s hardened interior. Through this intense matière, she performs a kind of ritual purification—distilling the raw matter of life and returning it to the primordial cycle of eternal recurrence.
The Coastal Color series featured in this exhibition builds upon the resilient vitality expressed in Minhee Yang’s earlier Red Moon works, while expanding into a richer symbolic realm through a broader spectrum of color. Her emotions become more distinctly articulated in hue, extending into a wider human dimension that includes both herself and others. Rather than dwelling on weariness or despair, these works celebrate the quiet preciousness of everyday life. By doing so, they are expected to resonate deeply with those who have endured hardship—offering a shared sense of empathy and a reaffirmation of the will to live..Red Moon, 2025, Modeling paste, acrylic on canvas, 390 x 130 cm Venue
1F, 723-29 Yeoksam-dong, Gangnam-gu, Seoul, South Korea
Artist
Minhee YangExhibition Dates
July 7th (Thu) – July 27th (Sun), 2025Gallery Hours
10:00 – 19:00Website
https://www.mansion9.co.kr/Instagram
https://www.instagram.com/mansion9_official/Contact
lyj9003@mansion9.co.krAbout Artist
Minhee Yang
Hailing from Jeju Island, the artist captures its landscapes on canvas with meticulous observation and delicate expression. Selected as an Outstanding Young Artist of Jeju, she weaves the image of the moon into the island’s scenery—projecting both herself and the collective human experience onto it. Through this symbolic moon, She evokes a quiet yet profound longing, revealing the deep-seated desires that shape and drive human life.
About the Gallery
MANSION9 is an art space dedicated to supporting emerging and mid-career artists through exhibitions and the Atelier Mansion Program (AMP), a specialized program aimed at nurturing young painters. Located in Seoul, the space fosters dialogue between artists and audiences while cultivating a dynamic platform for contemporary art practices.
(Text and images courtesy of MANSION9 )
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Interview | Beijing and New York-based Artist Xiangni Song
Xiangni Song is an artist based in both Beijing and New York, whose work draws from daily observations and personal experiences. Initially trained in illustration at the School of Visual Arts in 2016, she later transitioned to fine art, pursuing an MFA in Fine Arts at Pratt Institute in 2020. Over the past two years, she has explored a variety of media, creating both two-dimensional works and sculptures. Primarily focused on painting, drawing, and ceramics, her practice delves into themes of identity, self-reflection, and the boundless power of imagination.

FOUR, 2024, Oil on canvas, 72 x 48 in Can you tell us about your background and how you started your artistic journey?
I began studying traditional drawing and painting during high school in Beijing. After graduating, I moved to New York, where I completed both my undergraduate and graduate studies in art-related fields. I’ve been working in the same field ever since.
How do you stay inspired and motivated to create new work?
I’ve never had to ask myself how to stay inspired, motivated, or creative—these things come to me naturally and consistently. It’s as instinctive as knowing to drink water when I’m thirsty.

One Absent, 2023, Oil on canvas, 70 x 48 in How do you choose your color palettes? Do certain colors carry specific meanings in your work?
Turquoise is my favorite color—just a personal preference. I’m inspired by German Expressionism, as well as the work of female artists like Nicole Eisenman and Maria Lassnig.
What’s the most rewarding aspect of being creative in your experience?
Finishing a new painting!

Curry Fishballs, 2025, Oil on canvas, 30 x 24 in How do you hope viewers feel when they engage with your work?
Feel whatever speaks to you. I don’t mind viewers having their thoughts. Everyone should.

Spring, 2025, Oil on canvas, 30 x 20 in What advice would you give to emerging artists trying to establish themselves?
Do something you truly like for yourself and just be patient.
Text & photo courtesy of Xiangni Song

Website: https://www.xiangnisong.com
Instagram: https://www.instagram.com/catcantspeak/
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Interview | New York-based Artist Sao Tanaka
Sao Tanaka (b. Tokyo, Japan) is based New York City. She hold a BFA in Japanese painting from Tama Art University, an MA in sociology and cultural anthropology from Hitotsubashi University in Tokyo Japan, and studied at the School of Visual Arts in New York in New York. Her works have been internationally exhibited including her solo show at Tsutaya Books gallery in Tokyo, Mizuma & Kips Gallery in New York, for the group show at The BLANC, A Space Gallery in New York, Bunkamura Gallery in Tokyo, Hiroshima City Museum of Contemporary Art, in Hiroshima. Tanaka has participated artist in residencies at NARS Foundation, Vermont Studio Center. She has received the grant fellowship of the Pola Art Foundation Overseas Study Programme 2024-2025, the Shoto Museum Curator Hiraizumi’s Jury Prize, SHIBUYA ART AWARDS 2019, Winning Selection Hiroshima City Museum of Contemporary Art Open Call for Art Project Ideas 2018, and the Grand Prize at the 5th 21st Century Asia Design Competition from Kyoto University of Art. She explores landscape and collective identity, portraying inorganic materials in genesis scenes, inspired by myths that legitimize identity-region links.

Imitation of Nature #3, 2025, Sumi ink gold paint oil and acrylic on mulberry paper, 35.8 x 26 in Can you tell us about your background and how you started your artistic journey?
I was born and raised in Tokyo, Japan. My journey as an artist has been winding and a bit long story, but I’ll keep it short. On my father’s side, my grandfather and great-grandfather etc were traditional type of artist, also they were engaged in work similar to that of modern-day art conservators for preserving ancient Japanese masterpieces. So my first exposure to art was through traditional Japanese art. Although my father became an architect, he had high expectations for me to pursue traditional painting. I enrolled in a traditional Japanese painting (Nihonga) program for my BFA, while I became increasingly fascinated by contemporary art. During that time, I was also interested in why the art worlds in Japan—including Nihonga—and the West look so different, even though both are considered part of the same field of art. And I explored my question about Nihonga, not so much about the paintings themselves, but more about it as a system within the art world. I studied this topic in my MA in sociology, since then, I stopped making my own artwork. At the moment I was also a bit fed up with the pressure to be an artist that had been on me since childhood. After graduation, I thought I was more interested in exploring the connection between art and society, so I worked at an commercial art gallery, museum, and also helped with a friend’s startup company. However, during that time, I felt like I had lost touch with what I truly wanted to do. A few years later, I decided to return to my art practice. I also wanted to experience the contemporary art scene in New York Cit, so I moved here just before the pandemic started in late 2019. Now I’ve started to feel more clear-direction.

Imitation of Nature #1, 2025, Oil paint acrylic paint and sumi ink gold paint on mulberry paper, 35.8 x 26 in How do you stay inspired and motivated to create new work?
Seeing great artworks—which is rare, but when I do encounter them, I feel energized and motivated. So New York City continues to inspire me.
How do you choose colors to evoke emotion or atmosphere?
I don’t think I work much with emotion, but rather with atmosphere. The way I choose colors is definitely influenced by the environments I grew up and the what I’ve seen in the past. I think my preferred approach is to use a wide range of low-saturation colors, with small accents of high-saturation tones.

The Wave, 2024, Sumi ink oil paint acrylic paint gold paint on mulberry paper, 40 x 72 in How do you balance realism and fantasy in your compositions?
If just talk about drawing technic, I use a realistic drawing style. However, conceptually, my work is mostly rooted in fantasy. Some of my paintings may appear realistic in style but depict fantastical subjects—and sometimes it’s the opposite: the style may be more abstract or surreal, while the concept is grounded in something real.

Imitation of Nature #5, 2025, Sumi ink gold paint oil and acrylic on mulberry paper, 30.7 x 20.8 in What challenges have you faced as an artist, and how have you overcome them?
Challenges would be maintaining physical strength, keeping up with daily production, and balancing time between studio work and social life. Since I—and I guess many artists—don’t work within a company or organization, I have to manage every aspect of my schedule on my own. My dream is to one day hire a studio manager.
I’ve been told a few times that, to succeed as an artist in NYC, socializing is half the job. I’m not so sure—that’s still under my verification. Also, I should probably start going to the gym.

Imitation of Nature #11, 2024, Sumi ink gold paint oil and acrylic on mulberry paper, 30 x 21 in How do you see your artistic practice evolving in the next few years?
Every time I reach a milestone, I feel my work evolves little by little, and I believe I’m moving in a good direction. While my career as an artist is still relatively new, I feel I need more time to fully focus. In the coming years, I’d like to challenge myself by working on larger pieces.
Text & photos courtesy of Sao Tanaka

Website: https://www.saotanaka.com
Instagram: https://www.instagram.com/sao_tanaka_sao/
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Interview | Taipei-Based Artist Hsieh Mu-Chi
Hsieh Mu-Chi, born in 1981 in Taipei, Taiwan, graduated from the Graduate School of Fine Arts, TNUA. In recent years, his work has shifted its focus back to painting, and that his art can connect more deeply with the local environment and cultural context of Taiwan. For Hsieh, painting is not just a form of creation but also a continuous process of inquiry and exploration, as he searches for the role and representation of painting within contemporary Taiwanese culture.
Hsieh has received several prestigious awards and nominations, including the First Prize at the 2006 Taipei Art Awards, the 2022 CTBC Contemporary Painting Award, and a nomination for the 18th Taishin Arts Award in 2020. His work has been exhibited both domestically and internationally in Taiwan, South Korea, Japan, and the Philippines. He also participated in the Artist-in-Residence program at Thailand’s Silpakorn University in 2018 and the Goyang Art Studio in South Korea in 2015.
The landscape of Coconut and banana tree, 2018, Acrylic on Canvas, 259.0 x 182.0 cm Can you tell us about your background and how you started your artistic journey?
I graduated from the Department of Fine Arts at the Taipei National University of the Arts and currently live and work in Taipei. My practice is primarily rooted in painting. I’ve always had an interest in drawing, sensing early on that it offered a way to express different facets of myself. However, it wasn’t until I entered university that I began to systematically understand art-making—learning not only about artistic creation but also about art history, theory, and various painting techniques.
Some of the painting classes in university gave me the freedom to develop my work without strict limitations. It was during those classes that I became deeply interested in painting and found a passion for it. I began to consider what subjects to paint, what techniques and forms to use, and from there, my exploration of the meaning of painting began. I became curious about how different styles and movements emerged and the historical and environmental conditions behind them.
After graduation, during the first few years out of school, I felt uncertain about the path of becoming a painter and took a break from making art. Ironically, this pause helped me realize how much I wanted to continue painting. I eventually came to understand that painting is my way of processing and making sense of both my internal world and the world around me. Art-making enriches my life and gives depth to my journey.

Yesterday Is History, Tomorrow Is Unknown, 2025, Acrylic on canvas, 150.0 x 150.0 x 5.0 cm How do you stay inspired and motivated to create new work?
For me, inspiration comes from the accumulation and digestion of personal life experiences. It never arrives out of nowhere; instead, it reveals itself when the time is right. That’s why I make a point to visit exhibitions and read regularly—these habits often lead to unexpected discoveries that spark new ideas.
What I call “unexpected discoveries” are also part of training one’s ability to observe. By engaging with other people’s works and writings, I often encounter perspectives I hadn’t considered before. These encounters challenge my views on the boundaries between reality and art, and expand my imagination. At the core, I value quality of life and time spent alone in the studio. When I’m in a good mental and emotional state, I can fully immerse myself in painting. It’s important for me to stay focused on the people and things I love, and to let go of the rest. Not being entangled in the past gives me the strength to face the present.

Midnight Submarine, 2024, Acrylic colors on canvas, 129.2 x 95.8 x5.0 cm How has your artistic style evolved over time?
At one point, I explored performance and video work as a way to question the role of the painter and the nature of painting itself. In recent years, however, my painting style has shifted toward composite landscapes and constructed scenes that examine the relationship between self, painting styles, and historical contexts.
Looking back, I wouldn’t say my style has ever been fixed, but a consistent thread does emerge—frequent use of visual deconstruction, collage, and recombination. I enjoy layering and juxtaposing imagery and paint to create scenes and spatial compositions. My process involves repeatedly covering and repainting on a single canvas until I feel the work is complete.
The content of my paintings has also shifted over time—from depicting fragments of daily life, to introspective investigations of painting itself, to explorations of temporality and local identity. If I were to describe the evolution of my style, I would compare it to learning how to speak through painting: first trying to speak, then speaking through painting, and finally reaching a stage where painting speaks for itself. This reflects my life’s trajectory—painting and my personal life are closely intertwined. The visual language always reveals different dimensions of being human.

The Continent of My Longing, 2025, Acrylic on canvas, 227.0 x 182.0 x 5.0 cm Can you describe a recent project or artwork that you are particularly proud of?
In recent years, I’ve been referencing various styles of Taiwanese painting from the 19th century onward—landscapes, still lifes, and depictions of local culture—as source material. I love spending time with these older works. Their colors, textures, and brushwork often inspire me in unexpected ways.
One piece that exemplifies this approach is General at the Sea (2024). The “General” figure in my painting is inspired by The General (1964) by Taiwanese painter Lee Shih-Chiao. His original work is a satirical portrait that sits between abstraction and figuration. What drew me to it was not just its historical context or the artist’s intentions, but also my own imaginative response—seeing the General as a character I could insert into my own work. I imagined giving the General a break, letting him go to the beach and gaze out at the sea.
This approach doesn’t aim to directly engage with or respond to the original artwork’s historical framework, but rather to depart from it and focus purely on how its color and form resonate with me. My version, General at the Sea, becomes a kind of indirect dialogue with the original, establishing a new connection and narrative thread within my own body of work.

The Scene on a Junk Boat, 2019-2021, Acrylic on canvas, wood frame, 227 × 549 × 5 cm How do you see your work responding to current digital culture or the overload of visual information?
Digital culture and information overload are common conditions in our time. The creation and circulation of images have become incredibly easy and fast. For me, painting—a medium that relies so heavily on the hand—is a way to digest and respond to this flood of information. I sometimes mimic the logic or aesthetic traces of digital imagery in my painting, enriching the work’s visual language through this tension.
That said, I still draw a line between the two: digital references can be part of the work, but they are never the whole. It’s a bit like saying painting can depict anything, but not everything is painting. There’s a distinction, and I find value in maintaining it.
What advice would you give to emerging artists trying to establish themselves?
To me, the path of art-making is a long journey, full of challenges. Don’t let others dictate what kind of work you should make just to satisfy external expectations. Especially in the beginning, you may stumble upon a form or style that resonates with you, and it might stay with you for many years. If, later down the line, you’re able to break through that style and evolve, then you’ve truly leveled up. With time and perseverance, you could become a master in your field. Trust your intuition. Let it guide you forward as you explore the road of artistic creation.
Text & photo courtesy of Hsieh Mu-Chi

Website: https://www.muchixpainting.cc
Instagram: https://www.instagram.com/muchixpainting
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Interview | Incheon-Based Artist Lara Kim
Lara Kim is a contemporary artist born in South Korea, actively working today. She is recognized both domestically and internationally for her innovative approach to art and unique expression. In 2021, she won the prestigious A’ Design Award in Italy in the Arts, Crafts and Ready-Made Design category, and was also named a Lifetime Honorific Designer by the World Design Consortium. She additionally received the Organizing Committee Award at the 32nd Korea Art International Exhibition.
She continues to actively present her artworks in Korea through solo exhibitions and various group shows. And her artworks have expanded beyond Korea to the global stage, and have been exhibited at renowned venues.

Kyrezhons Begins Pleasure, 2025, Acrylic on canvas, 116.8 x 91 cm, Photo by Lara Kim Can you tell us about your background and how you started your artistic journey?
Lara Kim was born in South Korea. Her artistic journey began with questions about life, existence, and survival. Rather than relying on binary judgments such as “true or false,” it was rooted in inner contemplation based on imagination that considers all possibilities. She believed that by questioning familiar frameworks and imagining beyond them, one could gain new perspectives that reveal the essence and core often overlooked by familiarity. In her childhood, she simply enjoyed the act of drawing. But as time passed, questions rooted in wonder and imagination about the essence of the world began to emerge.Those questions never ceased, and her desire to express them grew ever deeper. She sought to capture subtle and nuanced realms that words could not reach, and eventually began to express that world through the nonverbal language of painting. At the time, she did not dream of becoming a professional artist, nor did she ever consider herself particularly skilled at drawing. Her creative acts were simply natural attempts to quench a deep inner thirst. Just as many people sustain their mentality through music, writing, or contemplation, she, too, sought to hold on to her existence through painting.
Nevertheless, she spent a period of her life pursuing various professions, striving to find her place within the comforts of worldly stability. Yet each time she was deprived of the time to imagine, to reflect, and to express, she felt herself drifting further from reality emotionally unraveling in the process. Life gradually became desolate, and in the end, she came to a profound realization: that to imagine was not a luxury, but a vital means of survival. From that moment on, she made the decision to live as an artist. It meant committing to a life of seeking creative answers drawn from imagination to the persistent questions rising from within. She came to understand that only through such a life could she fully exist. Now, the time she devotes to imagining and expressing has become the very center of her life, and through it, she is finally able to exist within reality. The life of an artist, for her, is both a journey of self-realization and a reconciliation with the world. And this journey continues to these days.

Yugar, the One Who Governs the World 1,2025, Acrylic on canvas, 91 × 116.8 cm, Photo by Lara Kim How do you stay inspired and motivated to create new work?
As Lara Kim moves through life, she is constantly questioning, imagining, and gaining insights through that inner process. Each of these internal experiences becomes a profound source of inspiration for her. That inspiration doesn’t remain as mere thought it stirs emotions and sensations that pull her into a world of imagination where all possibilities open up. This, in turn, leads to an intense urge to express it visually. For this reason, she cannot help but paint. Painting is a way for her to materialize what she feels, to process and release her desires. It is also, though metaphorical, the most honest way of expressing her inner world. This urge to express arises frequently and powerfully within her, and each time, she naturally begins to imagine and paint. In fact, if she does not continue creating new works, she feels discomfort as if her most basic needs are left unmet.

Hebangs keeps humanity alive 1, 2025, Acrylic on canvas, 53 x 45.5 cm, Photo by Lara Kim Color plays a strong role in your work—how do you approach choosing your palette?
When she first picked up a brush and started to paint the canvas, color was merely a matter of choice. Her focus was primarily on form and concept on visualizing inner thought. Color simply followed, guided naturally by the emotion or impulse of that specific moment. But as time passed and her work expanded more deeply into the realms of imagination and symbolism, she began to realize that color was not just a visual ornament. It was an essential language one that added emotional depth and meaning. Now, color has become more than a tool of expression; it is a subject of philosophical inquiry. Choosing a color is no longer just an aesthetic decision, but an act of responding to an internal question: “What kind of world am I trying to create?” Each color carries its own unique sensory energy and wavelength, and so she consciously selects the one that best resonates with the world she seeks to express.

Beloved Taina, 2025, Acrylic on canvas, 100 x 80.3 cm, Photo by Lara Kim How has your artistic style evolved over time?
The moment she decided to become an artist, and purchased her first set of proper canvases and paints, Then, as if something had burst open, she poured out all the emotions and thoughts that had long been stored deep within her. The forms were varied, and the colors were lively and vibrant. Yet in retrospect, those early works carried a subtle tension a certain stiffness. Her heart was already yearning for freedom, but her expression had not yet fully reached it. It was the trace of a transitional phase the threshold on her path to becoming an artist. As she moved through that period, she began to choose increasingly simpler colors and allowed her forms to become looser, more fluid. It was a conscious effort to strip away complexity and move closer to the essence of things. Over time, her methods of expression also evolved not confined to a single style, but expanding into a flexible synthesis that sought the most natural and honest visual language for each piece. From a philosophical perspective, she now works under the premise that absolute reality cannot be known. The world always exists within relative perspectives, and perception is constantly shifting. Her art reflects this view embracing the fluidity of meaning and the ever-changing nature of how we understand the world. First, based on the premise that all beings are interconnected and relative, she seeks to creatively combine diverse forms within a single canvas to reveal layered and multifaceted meanings. Second, she sometimes divides the same situation into multiple paintings. This is meant to demonstrate how a single scene can be interpreted entirely differently depending on the viewer’s value and perspective. Third, she focuses on the human imperfections of memory and our instinctive tendency toward optimism.
In order to survive, people often retain selectively positive memories and she expresses these lingering impressions through simplified forms and subtle traces. All of these processes are, ultimately, attempts to translate life and sensory experience into the language of art: a journey of self-exploration. Her work does not remain in a fixed or finished state but is in constant flux, and she seeks to embrace that ongoing transformation just as it is. For her, art is not a destination, but a continuous process of renewal: a way of questioning and rediscovering herself again and again.

Go Together, 2025, Acrylic on canvas, 72.7 x 60.6 cm, Photo by Lara Kim What challenges have you faced as an artist, and how have you overcome them?
The greatest challenge she faced was the emergence of artificial intelligence and the resulting shift in an era where the identity and value of creators were being fundamentally shaken. As AI began to mimic art with increasing sophistication and the public gradually accepted these products as more natural she felt a deep sense of crisis: Will I be able to continuously exist as an artist? Would it be possible to sustain a creative livelihood? Yet she could not abandon the life of an artist. In fact, this crisis became a turning point that led her to ask more essential questions: As a human artist, why do I create? What is it that I truly wish to express? After a long period of reflection, she established her own framework of thought and artistic vision that could stand in dialogue with the age of AI. The conclusion she reached was this: Art created by humans carries emotion and the warmth of life. Human emotions are far too deep and complex to be fully captured in words, and creativity often moves in directions that defy logic. Enlightenment, too, is a uniquely human inner journey. She seeks to express these emotions and realizations through painting using intuition, imagination, and the experience of all five senses. No matter how precisely AI can generate images, they are ultimately the result of data combinations and algorithmic calculations. In contrast, human art is the trace left by a being who has lived a life one who has passed through fear and limitation, hope and pain. She seeks to give meaning to those imperfect, yet deeply honest marks. This direction is not merely a survival strategy for her. It is a philosophical stance to protect the uniquely creative realm that only humans can inhabit and it has become an artistic purpose that continuously fuels her life with meaning and motivation. If her art can touch even one person’s heart, then she believes she has already survived as an artist.

Metario falls into contemplation, 2025, Acrylic on canvas, 60.6 x 72.7 cm, Photo by Lara Kim What advice would you give to emerging artists trying to establish themselves?
If there is one thing she hopes to pass on to emerging artists, it is, learn how to protect your inner world. It is a message she also continues to give herself. Art is not merely a matter of skill, but of how honestly one can confront and express their own thoughts and reflections. To break away from convention is not simply to reject existing forms, but to have the courage to face the unfamiliar and honest world within oneself. Your art must begin from your own reasons and purpose. Even if it evolves over time, it should always move toward a truth that is uniquely your own. That is the very force that sustains creative work and the most fundamental foundation for existing as an artist.
Text & photo courtesy of Lara Kim

Website: https://larakim.art
Instagram: https://www.instagram.com/larakim_official/
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Interview | New York-based Artist Paul Mok
Treating reality as the first medium, New York-based architect, designer, and visual artist Paul Mok (b. Hong Kong) situates his practice in the “in-betweens” – in between architecture and art, the technical and the abstract, the mundane and the wondrous.
Mok holds a Bachelor’s degree in Architecture from the University of Hong Kong and a Master of Architecture from the Harvard Graduate School of Design. Many of Mok’s designs double as standalone artworks and have been exhibited in various galleries and venues such as Yi Gallery, RIVAA Gallery, New Collectors, Art on Paper at Pier 36, and Gallery GAIA, among others. Recognizing the multidisciplinary nature of his practice, Mok was named by Cultured Magazine as one of the Young Architects of the Year in 2022.

The Void We Left Behind, 2024, Ink on paper, 70 x 55 in, Photo by Paul Mok Can you tell us about your background and how you started your artistic journey?
I am an architect. New York-based. Hong Kong-born. I came to the US in 2014, when I was 24.
My training has been strictly architectural. But as I was pursuing an M.Arch at the Harvard Graduate School of Design, I felt stuck. I was frustrated. I felt trapped by the design methods that I was being taught. That was when I met Professor Ewa Harabasz, an artist teaching in the design school. I ended up taking four classes with her, including an independent study. That gave me an alternative way to approach the creative process just when I needed it the most. If I hadn’t met Ewa, my practice today would likely be a lot more straightforward, with a more singular focus on architecture and interior design. Now, as a practicing architect, my personal practice encompasses architecture, design, and visual art.

You Are Living Someone Elses Dream, 2023, Concrete, rebar, grates, soil, live plants, clay, concrete brick, prints, 60 x 84 x 39 in, Photo by Paul Mok How do you stay inspired and motivated to create new work?
Sometimes I think that all we do in life is try to manifest our own existence. Some people can speak eloquently and persuasively, but I’ve never been the most articulate in speech. I prefer making things. Or drawing. I used to write a lot too.
If I go too long without making something, I get very anxious. I have these large-scale ink drawings in the studio to be a fallback project. It ensures that I will always have something to work on. The making process of these drawings is very time-consuming. Once I start one, I can keep working on it for months. I just have to be careful not to get too comfortable and fall into routine (I’m neurologically predisposed to repetition). Otherwise, I will only be working on drawings instead of new projects, and my practice will never grow.

Flip, 2021, Concrete, chrome pipes, charcoal, plywood, clay, switch, junction box, conduit, light fixture, 40 x 30 x 48 in, Photo by Yi Gallery How does your background in architecture influence your art, and vice versa?
Compared to a traditional artist, I am probably more inspired by the site and the circumstances around an exhibition. I tend to use the idiosyncrasies of the circumstances as prompts for creative leaps.
When it comes to design, I find the traditional problem-solving and form-finding approach very boring and unproductive. Make a creature! Create a scene! Propose something ridiculous! Put things where they don’t belong and see what happens! Once, my partner asked me to design a display fixture for her brand. Most architects would determine the surface area required, then pick a material based on budget (can we afford metal? No? Formica then? Or painted ply? What colors do you like?). They would end up with some variation of a four-legged table. Instead, I made something that looked like a shattered concrete slab floating in mid-air with live plants popping out. A year later, it was shown as a standalone art piece titled <You Are Living Someone Else’s Dream> at a two-person show at Yi Gallery. Architects think their job is to answer the design brief. To me, it’s obvious that answering the brief is only the bare, bare minimum. There is a whole world outside of the brief that warrants exploration.

A Fountain Head, 2020, Concrete, chrome pipes, soil, living plants, clay, hose bibb, 60 x 84 x 39 in, Photo by Paul Mok What is your creative process like? Do you follow a routine or work spontaneously?
I thrive on routines. I go to the studio every day after work, and I am always there on weekends. My full-time job takes up 45-55 hours a week. The routine helps ensure that I will get at least 20 hours a week for my personal practice.
I tend to get inspired by random things in the street, too. I take lots of photos with my phone and keep a sketchbook with me to collect ideas.
What challenges have you faced as an artist, and how have you overcome them?
I have faced numerous challenges as an overtly reserved, introverted person in general, but as an artist specifically: Since I did not study art, I did not have any connections in the art world when I came to New York in 2018. Also, my works were both art and design, meaning that I lacked a strictly “art” portfolio (or a strictly “design” portfolio, for that matter). I would cold-call galleries anyway. I am very grateful for those who have taken a chance on me and my work, including Ursula Clark, who gave me my first solo show at Gallery GAIA in 2020, and especially Cecilia Zhang Jalboukh, the founder of Yi Gallery. Cecilia paired me with a more established artist, Mar Ramón Soriano, for a two-person show in 2023. Cecilia also took lots of care in understanding the career and temperament of each of her artists, and connected me with the broader art world in New York.

I Owe It To My Family To Get Home In One Piece, 2025, Drain, air dry clay, ceramic pots, live plants, soil, asphalt, cast-iron drain, PVC pipes, 13 x 80 x 14 in, Photo by Paul Mok What advice would you give to emerging artists trying to establish themselves?
They say, “know thyself”. Be attentive to your creative cycle. Learn how it works. Be mindful of its ups and downs. Pay attention to the patterns. Take notes on what and how long it usually takes for you to come out of turmoil. It could save you some torments down the road.
Your practice needs to grow – ideally in the real world. That should be a priority. Most things are learnable. Socialize. Network. Talk to people. Reach out. Write as clearly as you can. Say yes to opportunities. But at the end of the day, your work should speak for itself.
If you tend to feel burdened by all the mundane tasks around your creative practice (e.g., writing artist statements, submitting to open calls, outreach, coordination, sourcing materials…), just pretend to be your own assistant. Treat it as a job. You don’t have to confuse that with your identity as an artist. Just pretend you are an assistant working for yourself.
Text & photo courtesy of Paul Mok

Website: https://www.paul-mok.com
Instagram: https://www.instagram.com/paulmokk/
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Interview | Hong Kong-based Artist Ngai Wing Lam
Ngai Wing Lam, born in 1986, Hong Kong. Ngai Wing Lam graduated from the Academy of Visual Arts at Hong Kong Baptist University. Ngai Wing-Lam, also known as Ant, is a Hong Kong-based artist celebrated for her surreal and introspective paintings. Ngai’s work prominently features koi fish-headed characters, inspired by her dreams and childhood experiences with pet fish. These hybrids symbolize her exploration of themes such as relationships, identity, and ambiguity. The speechless faces of the koi fish characters conceal inner emotions, reflecting the complexities of human connections and the fear of being different. Set against Hong Kong’s urban landscapes, her paintings capture the tension between reality and fantasy, inviting viewers to engage with narratives of alienation and individuality. Through this unique style, Ngai Wing-Lam offers a fantastical yet poignant exploration of personal and societal themes.

The Big Blue Blanket – “I found some knowledge.”, 2023, Oil on wood panel, 60 x 80 cm Can you tell us about your background and how you started your artistic journey?
I was born in Hong Kong, an only child and grew up in a typical Hong Kong family. I am a quiet person. When I was a kid, I loved painting, crafts, and science fiction stories. I graduated from the Academy of Visual Arts at Hong Kong Baptist University in 2008. At the time, I had no idea where my career was going, but I knew I had to stick to art. After a summer exchange program in France, I found a job as a studio artist (a colourist specialist) at Madame Tussauds, responsible for the maintenance of wax figures, and I have been doing this job ever since. At the same time, I shared a studio with artists and continued to explore my artistic path, and “Fish Man” was born. My artistic journey began.

Waiting All Night Long, 2022, Oil on wood panel, 45 x 64.5 cm What inspired the recurring motif of fish-headed characters in your paintings?
When I studied Visual Arts at Baptist University, dreams were my main subject of study. I believe dreams represent our perception and subconscious mind, they are all about the inner mind. I always remember the details of my dreams, and usually they have a storyline like a movie. So I studied movies and automatic poetry to learn how to tell stories. I kept the two koi fish for eight years. They were my soul mates. Fish mouths open and close but I never understand. After they died, I dreamed about them very often. I looked for them in my dreams, I found them in irregularly shaped fish tanks, opening and closing their mouths as if telling me something important. One day, I painted them with realistic brushstrokes to release the love of the two koi (“The Dream Teller”). Since then, I have never seen them in my dreams again.
Then I started to use their faces as Fish Man and Fish Woman. The two koi fish-headed characters can be anyone, any gender. They are my actors. My stories later are more than talking about perception and subconscious mind. The speechless faces of the koi fish characters conceal inner emotions, reflecting the complexities of human connections and the fear of being different. Set against Hong Kong’s urban landscapes, my paintings capture the tension between reality and fantasy, inviting viewers to engage with narratives of alienation and individuality.

She is Always On Time, 2025, Mixed media, 18 x 19 x 5 cm How has your artistic style evolved over time?
My painting style is influenced mostly by Western paintings from the 18th and 19th centuries such as surrealism, romanticism, religious arts. I am also attracted to the filmic narrative form of montage and is inspired by a wide range of films from around the world. In recent years I mostly work with oil applied directly onto wooden panels cut or framed into different shapes, and displayed in the form of storyboards divided by specially designed wooden frames. Using the wooden frames as dividers for storyboards, the works establish narrative perspectives, then posits two landscapes against each other. They are always in diptych. This device is inspired by mediaeval religious paintings, where the frame is a part of the pictorial content, which is filled with hidden symbols and allegories. Painting on surfaces of specific shapes and forms, I tried to create a sort of narrative sequence and overview; at the same time, frames of different shapes also serve a decorative function, forming a connection with domestic spatial settings.

Manage Your Time, 2025, Oil on canvas, 20 x 20 cm What do you hope people take away from your art when they experience it?
In my art world, the two koi fish-headed characters can be anyone, any gender. So I hope people arouse their emotions from their own experience through my works. It always comes out with new angles, something totally different from what I think. My work is always an open ended question. I hope people smile, become better, or get some answers.

Hare and the 240 Arrows, 2025, Oil on wood panel, 51 x 40.5 x 2 cm What challenges have you faced as an artist, and how have you overcome them?
I think the most basic challenge is the same as many local artists, which is how to make a living. In order to create good quality works and other stable sources of income besides art, I have to sacrifice sleep time. Therefore, time management is very important to me, as is the balance between work and art creation, family and friends. Because everything around me is the best inspiration for me.
What advice would you give to emerging artists trying to establish themselves?
I would love to say : Be yourself, persist and do what you love.
Text & photo courtesy of Ngai Wing Lam

Website: http://www.ngai-winglam.com
Instagram: https://www.instagram.com/ngaiwinglam/
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Interview | Beijing-Based Artist Sun Yitian
Sun Yitian (b.1991, Zhejiang, China) graduated from the Painting Department of China Central Academy of Fine Arts, Beijing (CAFA) in 2015 and earned her Master Degree in 2018. She is now completing her doctorate of Literature at the School of Humanities at Tsinghua University, Beijing. Her practice, which spans painting, installation, performance, and fashion, employs material objects as metaphors of labor and production to reveal the inner mechanisms of our consumer society. Sun’s often photo-realist works examines the secret, increasingly tenuous connection between seduction and fear as well as the sculptural ‘thingness’ of her subjects.
Sun was selected for the Influential 2023: Forbes China Contemporary Young Artists and Forbes 30 Under 30 Asia Class of 2019, and received the Bbart Awards 2024 Young Artist Award, the K11 Artist Prize nomination, the WSJ China’s ON THE FIELD Creator of the Year Award and “BOB Best of the Best” 2022 Young Artist Award. Her works have been exhibited at BANK Gallery, Esther Schipper, Mine Projects, Almine Rech, Paris and major organizations such as the Lion Palace, Berlin; Samaritaine, Paris; Macao Museum of Art; UCCA Edge, Shanghai, as well as Frieze London and FIAC. Her work is held in the following collections: Hort Family Collection, New York; White Rabbit Gallery, Sydney; Museum Voorlinden, The Hague; The Los Angeles County Museum of Art,Los Angeles; By Art Matters, Hangzhou; Longlati Foundation, Shanghai; Pond Society, Shanghai; M WOODS, Beijing; Yuz Museum, Shanghai; Sifang Art Museum, Nanjing and Long Museum, Shanghai, etc.
Recent exhibitions include The life of Things, Museum Voorlinden, The Hague (2025), A Cloud in Trousers: Painting Today, West Bund Museum, Shanghai (2024), One and All: New Artistic Styles of Contemporary Painting, National Art Museum of China, Beijing (2024); Boundless Reverie: Chinese Savoir-Faire and Contemporary Art, K11 MUSEA, Hong Kong (2024); Once Upon a Time, Esther Schipper, Paris (2023); Bordercrossing: Possibilities and Interactions, Yuz Museum, Shanghai (2023); Projection, Sifang Art Museum, Nanjing (2023); Nián Nián :The Power and Agency of Animal Forms, Deji Art Museum, Nanjing (2023); The Infinite Conversation: 2022 Beijing Biennial “Symbiosis”, National Base for International Cultural Trade, Beijing (2022); Summer ‘22, Esther Schipper, Berlin (2022); The Pieces I Am, Shanghai, UCCA Edge (2022); Art’s Language, Artists’ Game, OCAT Shenzhen, Shenzhen (2022); The Disconnected Generation, Song Art Museum, Beijing (2022).

Storm, 2025, Acrylic on canvas, 205.4 x 158.4 cm, Courtesy the artist and Esther Schipper, Berlin/Paris/Seoul, Photo © Andrea Rossetti Can you tell us about your background and how you started your artistic journey?
As a child, I was obsessed with Shogo Hirata’s fairy tale books — I would constantly copy the characters from the pages. I was also deeply into the Sailor Moon anime and often drew the characters from the show. I still remember one moment vividly: in kindergarten, I drew a princess for my classmates, then cut small slits into her dress with scissors and placed the drawing under the sunlight so the light would shine through — it made the dress look like it was glowing. Everyone was so happy, and maybe it was at that moment that I realized how fun drawing could be, and that I wanted to keep doing it forever. Not much has really changed over the years — I still just hope to wake up every day and be able to draw, and for someone out there to enjoy what I make. In that sense, it’s no different from that sunny afternoon in kindergarten.

Baby Yellow Elephant, 2024, Oil on canvas, 60.2 x 30.2 cm, Courtesy the artist and Esther Schipper, Berlin/Paris/Seoul, Photo © Andrea Rossetti How do you stay inspired and motivated to create new work?
Most of my works are either from sudden flashes of inspiration or from the gradual accumulation of everyday experiences. I rarely experience a lack of inspiration; instead, I am often overwhelmed by too many ideas and thoughts.

Virgin Mary in the Mirror, 2024, Acrylic on canvas, 205.4 x 158.4 cm, Courtesy the artist and Esther Schipper, Berlin/Paris/Seoul, Photo © Andrea Rossetti How do you select the specific items you depict in your artworks?
Most creators surely hope for their work to be seen and recognized, and I’m no exception. When I first started painting the man-made objects series and gradually developed the visual language that people now associate with me, I had just graduated from university. At the time, I kept all channels of viewing open and I didn’t set any barriers in terms of how the images could be read. These man-made objects are bright in color and cute in form, often evoking a desire to touch or hold them. But what I aimed to present was a surface without secrets or depth — a kind of de-socialized, de-historicized “skin” of objects. As a result, viewers from different cultural backgrounds or with different aesthetic sensibilities may perceive very different levels of depth in the images. In fact, since I was 16, I’ve also been working on a series called natural objects, which includes various landscapes and occasional depictions of the human body. Natural objects is more like my personal diary — an expression of my emotional and intuitive side.
The works in my solo exhibition in Paris in 2023 marked a gradual shift from the man-made objects series toward the natural objects series. In the past, with man-made objects, I deliberately avoided narrative and literary qualities, depicting the existence of “objects” in a cold and detached manner. But in the solo exhibition in Berlin this May, the two creative threads began to converge.

Jingpin, 2024, Acrylic on canvas, 182.7 x 182.9 cm, Courtesy the artist and Esther Schipper, Berlin/Paris/Seoul, Photo © Andrea Rossetti Your work often features toys and consumer goods. What messages or questions are you exploring through these subjects?
I was born in China in the 1990s, when during the nation’s family planning policy, so most of my generation were only children,whithout siblings to play with. In the 1990s, China’s economy was taking off because of the reform and opening-up policy. My hometown, Wenzhou, is a city known for its manufacturing industry. Therefore, in my childhood, I would often play with my friend in her family’s factory, and there were a lot of workers from out of town on the assembly line in the factory, who worked day and night. I used to see in the factory showroom many small goods produced on assembly lines, such as toys, glasses, lighters, which were later exported all over the world. As an only child, I spent a lot of time alone with dolls when my parents were not at home. When I was in college, I went to Yiwu by chance and was amazed by the variety of shapes, materials, colors, and tactile sensations of those small commodities, and then I began my series of creations of man-made objects. In the classical era, the life span of an object was longer than that of a human being, but in the modern era, the life span of an object is becoming shorter and shorter. I am fond of these fleeting objects produced on the assembly line, which were my childhood playmates and the imprint of my generation.

Fertility Gods, 2024, Acrylic on canvas, 205.4 x 158.4 cm, Courtesy the artist and Esther Schipper, Berlin/Paris/Seoul, Photo © Andrea Rossetti What challenges have you faced as an artist, and how have you overcome them?
Quite often, a woman’s efforts or success are met with increased scrutiny or criticism. What I can do is to keep speaking up, focus on what I can do well, and filter out the information that might cause unnecessary distress.

Asia Girl, 2024, Acrylic on wood panel, 53.8 x 44.8 cm, Courtesy the artist and Esther Schipper, Berlin/Paris/Seoul, Photo © Andrea Rossetti Are there new themes or mediums you’re interested in exploring in your future projects?
The latest exhibition in Esther Schipper Berlin is titled “Romantic House,” continuing my multi-layered exploration of the essence and possibilities of images in contemporary painting. The works on view in this exhibition interweave my personal experiences with the historical changes of Chinese society and culture through the visual vocabulary of China and the translation of Western culture into Chinese daily life. The new works reference classic motifs from art history, consumer goods, toys, amusement parks, and other visual elements, while also incorporating my childhood memories and observations of urban daily life. I’ll probably keep developing this artistic thread for a while.
Text & photo courtesy of Sun Yitian

Photo © Andrea Rossetti Website: http://www.yitiansun.com
Instagram: https://www.instagram.com/taki524/
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Interview | New York and Seoul-based Artist Doi Kim
Doi Kim (b. Seoul, South Korea) is a visual artist based in New York and Seoul. She holds an M.F.A. from the School of Visual Arts (New York, NY, USA) and a B.A. from the Korea National University of Arts (Seoul, South Korea). In 2017, she studied printmaking at the Academy of Fine Arts in Prague (Czech Republic).
Her work explores the physical and psychological dimensions of the human condition through a speculative ecosystem conceived based on the anatomical features and biological traits of various organisms. Drawing from anatomy, botany, biology, phenomenology, literature, and sociology, Kim constructs speculative ecosystems using printmaking, painting, animation, and installation. Her practice investigates material imagination and intricate layers of identity, perception, and survival, leading to questions regarding ontological ethics.
Her solo exhibitions include 17717 (Seoul), ChaShaMa Space (New York), and space xx (Seoul). Selected group exhibitions include Temple Contemporary (Philadelphia, PA), Flux Factory (New York, NY), The Arts Center at Governors Island (New York, NY), The BLANC (New York, NY), Manhattan Graphics Center (New York, NY), Miami International Fine Arts (Miami, FL), Susquehanna Art Museum (Harrisburg, PA), Ethan Cohen KUBE (Beacon, NY), Untitled Art (Miami, FL), De Bouwput (Amsterdam, Netherlands), Rear Window Gallery (Hangzhou, China), and Gallery AVU (Prague, CZ).
Kim is a 2024 NYFA IAP mentee and recipient of the Outstanding Achievement Award at the 2022 Tripvill International Film Festival. She was also awarded a grant from the Seoul Foundation for Arts and Culture in 2022 and was a member of the Society of American Graphic Artists and Boston Printmakers.
Kim has participated in artist residencies at ChaNorth (Pine Plains, NY), SÍM Residency (Reykjavík, Iceland), Kala Art Institute (Berkeley, CA), AGA LAB (Amsterdam, Netherlands), Centrum (Port Townsend, WA) and Stove Works (Chattanooga, TN).

Pearls_Hemoglobin (Quaternary Structure), 2024, Acrylic and CMYK silkscreen on Somerset Satin paper, 72 x 60 in Can you tell us about your background and how you started your artistic journey?
I am a visual artist based between New York and Seoul, South Korea. Originally from Seoul, I received my BFA from the Korea National University of Arts. During my undergraduate studies, I spent a year in Prague, Czech Republic, as an exchange student, where I focused on printmaking and had the privilege of traveling across various countries. In 2019, I moved to New York to pursue my MFA and have been based there ever since.
My artistic journey began in high school, which was located in the heart of Seoul’s artistic district. Being surrounded by galleries, exhibitions, and lectures made art easily accessible and naturally intrigued my curiosity. Around that time, I also participated in art therapy sessions, which made me experience the self-healing function of drawing, deepening my connection to creative expression. Although there have been several moments in which I felt my artistic journey restarted anew, that period marked the start of my journey as an artist.

On Observation, 2024, Spirulina on linen, 25.5 x 25.5 in each How do you stay inspired and motivated to create new work?
That is always the most important but challenging. Inspiration always comes to me in a very crude and random form, requiring time and reflection to be elaborated, articulated, and ultimately pronounced through a chosen material.
Practically speaking, the first thing that came into my mind regarding keeping my motivation is through the great artists I admire. I learn immensely from how they observe, analyze, and reimagine the world perceptively and lucidly, fully engaging with every aspect of their mediums and materials. Continuously reflecting on the work ethic of the artist I aspire to be is always central to my inspiration and motivation.

The Fifth Child 2_Internal Organs, 2020, Colored pencil on lithograph, 22 x 30 in, Variable edition of 5 + 1 AP Are there any particular mediums you prefer working with? Why?
For a significant period, I was captivated by the materiality and insights of printmaking, and it was the medium I most often gravitated toward. I used to say it was my preferred medium; however, I’m currently stepping away from printmaking—at least for now—to explore new directions. Lately, I’ve been working more with painting and animation and have begun experimenting with sculpture.

Surface, 2024, Etching, Image size: 17.5 x 23.5 in, Paper size: 22 x 31 in What’s the most rewarding aspect of being creative in your experience?
For me, one of the most rewarding aspects of being an artist is the ability to actively pursue and manifest my beliefs and values through my work. Frankly, I do feel a sense of fulfillment when my work is seen and appreciated by others. However, through my experiences working in printmaking workshops in New York and observing lives across different locations during travels and residencies, I’ve seen that artists are among the few creative laborers who can directly and authentically follow their beliefs.

Pearls 3 (Secondary Structure), 2024, Acrylic and CMYK silkscreen on Somerset Satin paper, 36 x 30 in How does working across cultures impact your creative process?
It had a profound impact on me. Observing how people perceive themselves and act based on shared ideologies and collective consensus has been especially influential since moving to the US. As an artist drawn to material imagination and the architecture of the mind, I’m intrigued to observe how collective mentalities constrain thought and offer a sense of stability. Exploring what this means for one’s personal ontology is central to my practice. Working across cultures is essential to this inquiry—it challenges and enriches my understanding of the self in relation to broader systems of belief.

Pearls 2 (Tertiary Structure), 2024, Acrylic and CMYK silkscreen on Somerset Satin paper, 60 x 36 in What challenges have you faced as an artist, and how have you overcome them?
As I continued to navigate opportunities as an early-stage artist, I often struggled with excessive self-censorship, shaped by circumstances that weren’t always supportive of my practice. These limitations sometimes made it difficult to stay true to my vision. The only way I’ve found to move through this is to reaffirm my core beliefs consistently.
Text & photo courtesy of Doi Kim

Website: https://doikim.com
Instagram: https://www.instagram.com/_doikim/
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Rhythms of the Unseen International Juried Exhibition

Poster Credit: Asian Art Contemporary Rhythms of the Unseen explores the invisible forces that shape artistic expression—movements, emotions, and histories that pulse beneath the surface of each work. This exhibition brings together artists whose practices embrace the subtle yet dynamic interplay of form, gesture, and presence. Through their distinct approaches, they reveal a world beyond the visible, where intuition, memory, and cultural influences intertwine. The exhibition invites viewers to tune into these silent rhythms, discovering the unspoken dialogues and hidden energies that give each piece its depth and resonance.
Title
Rhythms of the Unseen
Date
June 23 – August 31, 2025
Selected Artists
Boya Liang, Carol Paik, Chak Man Wong, Kim Tateo, Lexiong Ying, Paul Mok, Rick Li, Rosie Ding, Ruoyu Gong, Sagar Kamath, Shohei Katayama
Juror
Peter Drake, Ami Park
Exhibition Assistant
Ziyi Huang
Visual Designer
Jianing Lu
Exhibitor
Asian Art Contemporary
Guest Juror
Peter Drake’s work is held in private, corporate and public collections including the Whitney Museum of Art, Phoenix Museum of Art, MOCA LA, Weatherspoon Art Museum, L.A. County Museum, Microsoft, Kirkland and Ellis and the Progressive Collection among others.
He is the recipient of a National Endowment for the Arts Award, a New York Foundation Fellowship and is a two-time recipient of the Two Trees Cultural Space Subsidy Program Grant.
His work has been written about in the New York Times, Art in America, Newsday, Huffington Post, Art & Antiques and numerous other publications.
Drake’s “Waiting for Toydot”, a MTA Arts & Design permanent public art commission for the Long Island Railroad (LIRR) Massapequa Station opened to the public in 2015. “Waiting for Toydot” features 18 art glass windows and 5 ceramic/glass mosaics installed throughout the train station and is seen by over 7,000 commuters daily.
He actively lectures, writes and was a curator for The Drawing Center, NYC and wrote for Flash Art Magazine. He served as a board member of the Artist Fellowship, Inc. and has been a jurist for the AXA Art Prize 2018-2025. Drake is the Provost at the New York Academy of Art, a progressive figurative and representational graduate art school in New York City.
Drake maintains an active studio practice in Dumbo, Brooklyn, has had 28 solo exhibitions and is represented by Linda Warren Projects, Chicago / Los Angeles, Healy Contemporaneo, San Miguel de Allende, Mexico and Craighead Green Gallery, Dallas.
Peter Drake was born and raised in Garden City, Long Island and lives in Manhattan.
https://www.instagram.com/peterdrakeart
https://nyaa.edu/graduate-program/faculty/peter-drakeAmi Park, originally from South Korea, currently resides and works in Queens, NY. Her artistic practice centers on textiles, exploring the connections between the human mind, emotions, and objects. She focuses on themes of self-awareness, identity, and perception. Influenced by her immigrant experience, spirituality, and scientific theories, her interdisciplinary approach challenges societal norms and pressures across different cultures. Through her work, she invites viewers to reconsider familiar concepts from new and layered perspectives, debunking subconscious biases.Park has exhibited her work at the Bronx Museum, MoMA PopRally, KuBe Art Center, Pen + Brush, Czong Institute for Contemporary Art, theBLANC, Asian American Arts Alliance, Chashama, New York Live Arts, the New York Foundation for the Arts, SVA Flatiron Gallery, and RIVAA Gallery, among others. She has been awarded the AIM Fellowship by the Bronx Museum and participated in the Immigrant Artist Program facilitated by the NYFA. Park has received grants from Cerf Plus, The Puffin Foundation, NYFA, and CRNY, and has completed residencies at LMCC Arts Center, Uncool Artist, and the School of Visual Arts. Park holds a BFA in Fashion Design from Parsons School of Design. Her upcoming exhibitions include a solo show at The Garage Art Center, as well as group shows at the Steinberg Museum of Art in 2025, and a two-person exhibition at the Nars Foundation in 2026.
http://www.ami-park.com/
https://www.instagram.com/iam__ami_/Selected Artworks

First Place
Rick Li, My life, 2025, Airbrush on wood board, 8 x 8 in
Second Place
Carol Paik, WideningGyre, 2021, Repurposed textiles, 70 x 115 in


Third Place
Boya Liang, Unfolding Cosmos in Self, 2024, Cyanotype on Xuan paper, 7.3 m x 0.68 m, 8.5 m x 0.68 m, 8.5 m x 0.68 m

Ruoyu Gong, Oh You Poor Thing!, Monotype, acrylic collage, and oil pastel on paper mounted on board, 10 x 9.5 in

Sagar Kamath, Birth of Night, embraced by Blue and Red, Acrylic, AB crystals, hemp twine, grommeted hemp canvas, 80 x 80 in

Paul Mok, The Void We Left Behind, 2024, Ink on paper, 50 x 77 in

Chak Man Wong, Untitled (earth), 2025, Medium Grogged Black (ceramic), log, 25 x 25 x 55 cm

Shohei Katayama, Hollow Pressure, 2025, Copper, iron, oil, water, electromagnet, PLA, 5.5 FT

Lexiong Ying, How do you verify that you are you_1, 2023, 3D printing installations & sculptures, Approx. 10 cm x 15 cm, Six pieces

Ruoyu Gong, Spectators,2024, Monotype, acrylic collage, and oil pastel on paper mounted on board, 10.5 x 10.75 in

Sagar Kamath, A landscape in question :: how to hold? when to dance? &where do i go after collapse?, 2022, Acrylic, mod podge, chalk pastel, ink on grommeted canvas, 60 x 70 in

Rosie Ding, Fingers (Bourgeois), 2025, Glazed ceramic stoneware, Dimension varies

Kim Tateo, Winds of change, 2025, Mixedmedia, 82 x 84 in
Selected Artists
Boya Liang https://www.boyaliang.com/
Carol Paik https://carolpaik.com
Chak Man Wong https://blancccm21.wixsite.com/blancccm
Kim Tateo https://www.lookalittlecloser.com/
Lexiong Ying https://www.instagram.com/lexi.visual?igsh
Paul Mok www.paul-mok.com
Rick Li rli467.wixsite.com/rickli
Rosie Ding www.rosieding.com
Ruoyu Gong https://www.ruoyugong.com/
Sagar Kamath www.sagarkamath.com
Shohei Katayama http://shoheikatayama.com
Artwork information and images courtesy of the artists.








