Bosco Sodi, who works actively on the global stage including the United States, Mexico, Germany, and Japan, is widely known for his relief paintings characterized by rough surfaces with rich textures and vivid colors. In addition to painting, he has established a distinctive artistic world using various formats and media such as sculpture and installation, earning critical acclaim.

He places his canvases horizontally on the ground and scatters and piles mixtures of pigments, sawdust, wood pulp, natural fibers, and glue over long periods. He then leaves the work to dry and harden naturally. For Sodi, the creation process itself is a form of performance. During the time—sometimes lasting months—that the work is left untouched, the traces of the artist’s actions appear clearly on the surface, moving and stopping along stratified lines. The moment the first cracks emerge as the material dries, he stops working. His works are part of various public and private collections, including the Ishikawa Prefectural Museum of Art in Japan, the Harvard Art Museums in Massachusetts, the Museum of Contemporary Art Antwerp in Belgium, the Museum Voorlinden in the Netherlands, and the National Gallery of Victoria in Melbourne, Australia.

Kwon Dae-seop's white porcelain follows the form and production methods of the "moon jar"—a style of porcelain that flourished in the late 17th to 18th century during the Joseon dynasty. The form is spherical, more than 40 cm in height, and has a milky white or snow-white hue. Only high-quality kaolin, with fine particles and free of impurities, is used.

From the selection of the raw clay to the techniques of raising kiln temperatures, Kwon inherits the materials, forms, and production processes of Joseon porcelain, but he does not merely replicate the traditional moon jar. Instead, he seeks a modern sensibility rooted in tradition.

His jars, while rejecting perfect proportions, retain a sense of balance; their seemingly clumsy shapes evoke stability and comfort. The surface textures vary—some areas are glossy and smooth, while others are dull and cloudy. The artist is cautious about having his works labeled strictly as "moon jars," as they differ from those of the Joseon period and the image of a full moon limits imagination and interpretation.

Born in Seoul in 1952, Kwon graduated from Hongik University’s Department of Western Painting in 1978. After encountering white porcelain by chance in Insadong, he studied ceramics from 1979 for five years under Ogasawara Tōemon in Kyushu, Japan.

He held his first solo exhibition in Korea at the Deokwon Museum in 1995 and later at galleries such as Seomi & Tuus (2009–2014), Axel Vervoordt Gallery (2015, 2018/Belgium), and Park Ryu Sook Gallery (2019, 2020). He also participated in Design Miami (2009) and the Triennale di Milano (2013).

His works have been exhibited at the Seoul Museum of Art (2014), the Mountain Art Foundation in China (2014), the Musée des Arts Décoratifs in Paris (2015, commemorating the 130th anniversary of Korea–France relations), the Bavarian National Museum in Munich (2016), Art Monte Carlo (Monaco, 2016), Art Geneva (Switzerland, 2016), and Ginza Six Gallery in Tokyo (2017), among others.

He was selected as Best Artist by the Korean Art Critics Association in 1998, and his works are housed in leading institutions including the Leeum Samsung Museum of Art, the National Folk Museum of Korea, Musée Guimet (France), the State Hermitage Museum (Russia), and the Art Institute of Chicago (USA).

Kishio Suga, a leading figure of the Mono-ha (もの派, “School of things”) movement in Japan, works by placing unaltered materials such as wood, metal, stone, paper, rope, concrete, wax, and vinyl directly into spaces, connecting them without processing.

By adjusting the intermediate spaces between objects and between objects and space, he intervenes in the work and invites the viewer to experience fluid relationships, going beyond traditional genres like painting and sculpture to create a kind of spatial landscape.

From 1964 to 1968, he studied at Tama Art University in Tokyo. There, influenced by international movements like Arte Povera and Land Art, he collaborated with young artists such as Nobuo Sekine and Jiro Takamatsu to give birth to Mono-ha.

After graduating, he began making temporary compositions using natural elements and objects, which he placed in outdoor locations in Tokyo, coining the term “fieldwork.” Later, he brought these activities indoors, receiving recognition for unprecedented installation works such as Parallel Strata (1969), a totem-shaped piece made of paraffin wax, and Soft Concrete (1970), a square made of four upright steel plates. He has exhibited at the 8th Paris Biennale and the 38th and 57th Venice Biennales. Over the past 40 years, his work has been featured in major exhibitions at institutions such as the Centre Pompidou in Paris, the Guggenheim Museum in New York, the San Francisco Museum of Modern Art, the Museum of Modern Art in New York, and Punta della Dogana in Venice. Recently, he held solo exhibitions at Dia: Chelsea in New York and Pirelli HangarBicocca in Milan. His works are in numerous public and private collections worldwide.

Lee Ufan dropped out of the College of Fine Arts at Seoul National University and later moved to Japan, where he graduated from the Department of Philosophy at Nihon University in 1961. From 1968 to 1975, he gained attention as a leading theorist and practitioner of the Mono-ha movement in Tokyo.

He went on to gain international acclaim as a foundational figure of the Mono-ha movement.

Known as the “master of points and lines,” his early works are based on Eastern philosophy, where a point can become a line and eventually dissolve into nothingness. His work requires an understanding of the meaning behind a single “stroke” and the significance of the unpainted void.

Each stroke embodies a moment that seems suspended in stillness yet filled with movement—a sense of dynamic calm, vitality, and flowing energy.

He received major acclaim for participating in prestigious international exhibitions such as the Paris Biennale, São Paulo Biennale, and Documenta in Kassel.

He has held large-scale solo exhibitions at institutions including the Düsseldorf City Museum, the Louisiana Museum of Modern Art, the Milan Museum of Contemporary Art, the Hara Museum of Contemporary Art in Japan, and the Kamakura Museum of Modern Art.

The Lee Ufan Museum was established in Naoshima, Japan. His works are housed in leading institutions such as the Centre Pompidou in Paris, the Berlin State Museums, the Museum of Modern Art in New York, the National Museum of Modern Art in Tokyo, the National Museum of Modern and Contemporary Art in Seoul, and the Ho-Am Art Museum.