Chun Kwang Young (b. 1944)
The artist creates his own universe born directly from his Korean culture and personal history. He creates a work composed of polystyrene triangles wrapped in a Korean paper called "Hanji" from the mulberry tree, traditionally used for writing, medicine or food packaging.Each one of his works is a game of assembly, of interaction between these small triangles giving life to imaginary landscapes with different colors, reliefs, volumes creating an infinite abstract space. These Aggregations are for the artist Chun Kwang Young, windows reflecting his vision of humanity.

Maurice Frydman (b. 1928)
Abandoning the traditional tools of the painter and sculptor, the artist uses plastic film as the predominant creative process. The plastic film by its flexibility and transparency lends itself to twisting, stretching, folding and bending. It is, for Maurice Frydman, a metaphorical way to evoke the skin, its wrinkles and scars. This approach, centered on tension and extensibility, opens up all the possible variables of the human body, seen here as a "skin of light".

Kwang Bum Jang (b. 1972)
The artist draws his inspiration from the impressionists by observing nature and its multiple color variations. His obsession with the visibility of time leads him to accumulate several layers of acrylic on the same canvas, then to pursue a meticulous work of sanding and removal of material, layer after layer.Satin reflections, moirures, elegant touches of colors skillfully dosed, we let ourselves go to contemplation in the abstract works of the artist Kwang Bum Jang.

Jiana Kim (b. 1972)
For Jiana Kim, clay is a means by which she realizes her desire to draw with "light". She considers herself simply as an artist who works with clay rather than as a ceramist. Jiana Kim's paintings on porcelain remind us of the monochrome artistic movement of Dansaekhwa (Korean Monochrome Movement, composed of Lee Ufan, Park Seo Bo, Ha Chong Hyun...).

Javier León Perez (b. 1977)
Javier Leòn Pérez’s abstract and monochromatic landscapes swell with rhizomatic movements. In his 3D works, small pieces of carefully folded Japanese paper intertwine, depicting a dance that transports the viewer into a parallel reality. Falling somewhat in line with lyrical abstraction, his works recall not only the formal spaces within the room itself, but also the distant spaces of the spirit and emotions, which exist outside of the physical limits of the exhibition space.

Nam Tchun-Mo (b.1961)
Through the repetition of simple lines and a mixture of natural colors, Nam Tchun Mo creates works that go beyond the limits of sculpture and painting. Dynamic and rhythmic lines built on the surface of the canvas with resin create a harmony between light and shadow spaces. It is a sculptural painting where the lines constitute an infinite space. Nam Tchun-Mo is one of the most representative artists of the new generation of Dansaekhwa.

Paola Pezzi (b. 1961)
Influenced by Arte Povera, Paola Pezzi’s works are subtle compositions created with ordinary, modulated, layered and folded materials. The artist brings a new meaning to each material through the power of decontextualisation, that is, ignoring its primary use. She reveals their other lives and possible forms. The materials receive energy and vitality in her hands, creating a depiction that attracts attention.

Meekyoung Shin (b. 1967)
Made from soap, her works replicate artefacts and canonical works of art, from Asian porcelain vases to Greek and Roman sculptures, translating between continents, cultures and centuries in the process. The works of Meekyoung Shin with its thousands and one details appear in a suspended time like an imprint that our dreamy glance contributes to dilate further and gives us to read another image of the past.

Moon-Pil Shim (b. 1958)
Operating like a steady rhythm, Moon-Pil Shim’s monochromatic works display a constant oscillation between transparency, sharpness, solid black, fine, coloured lines, plexiglass and the milky, almost celestial, presence of the white background. “Fluffy like a first fall of snow,” as Tanizaki would say. Moon-Pil Shim’s works create an imprecise, distant and mysterious depth, attracting our perception towards a withdrawn space.

Kim Hyun Sik (b. 1965)
Kim Hyun Sik cultivates the in-between by constantly playing with two different registers, two spaces: the palpable register of resin and the far more distant register that can be divined between the infinite furrows that serve as veins on the surface of his works. This fine weaving and the alternation between one space and another appears to invite the viewer to a reserved, meditative and mental space. Everything here is a play of contrast, the tension between material and colour, between openness and confinement, between the surface and the intimate, between light and shade.