Park Seo-Bo was a seminal figure in Korean contemporary art. He was one of the founding members of the Dansaekhwa movement, which emerged in the early 1970s post-war Korea and has since gained international recognition. In the late 1960s, Park began the ‘Ecriture’ series by repeating pencil lines over wet monochromatic painted surfaces. Later, he expanded the language through the introduction of hanji (traditional Korean paper) and color. The work is brought into being through the process of repetitive actions of pasting, scraping, scratching, and rubbing. It delicately balances drawing and painting in a quest for emptiness through reduction. Park’s work has been exhibited internationally, including: Museum of Fine Art, Boston, United States; the Venice Biennale, Italy; Samsung Museum of Art, Seoul, South Korea; Singapore Art Museum, Singapore; Kunsthalle Wien, Vienna, Austria; Tate Liverpool, United Kingdom; Brooklyn Museum, New York, United States; and Expo 67, Montreal, Canada. Park’s work is included in the collections of the Solomon R. Guggenheim Museum, New York, United States; M+, Hong Kong, China; Guggenheim Abu Dhabi, UAE; The National Museum of Contemporary Art, Seoul, South Korea; and the K20, Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany.

Kim Chong Hak, often referred to as Flower's Painter, is celebrated for his abstract art that emphasizes the inherent beauty of nature. His creative process involves internalizing the joy found in nature and reimagining it onto canvas. In the 1980s, Kim immersed himself in the Seoraksan Mountain, both in theme and living, inspired by its distinct seasonal traits, with a different name for each season. He still speaks fondly of his time in the mountains and his artistic expression of the seasons' colors. His work has been featured in major international exhibitions and projects, including: the Busan Museum of Art, Busan, South Korea; Vitality at Galerie Perrotin, Paris, France; Musée Guimet, Paris, France; SeMA Nam Seoul Living Art Museum, Seoul, South Korea; Whanki Museum, Seoul, South Korea; Ewha Museum, Seoul, South Korea; Kumho Museum, Seoul, South Korea. Kim Chong Hak’s work is in the permanent collections of many museums, including the National Museum of Korea, Seoul, South Korea; National Museum of Modern and Contemporary Art, Gwacheon, South Korea; Leeum, Samsung Museum of Art, Seoul, South Korea; Seoul Museum of Art, Seoul, South Korea; and Busan Museum of Art, Busan, South Korea. Currently, the Kim Chong Hak Museum is in plans to be built in Busan, South Korea, whereas the Architect Kengo Kuma participates as a designer.

Lee Bae focuses on the expressive potential of charcoal as a medium. Over the course of three decades, Lee has dedicated himself to creating a diverse range of iterations of Korean painting through his use of charcoal and abstract forms that are self-sufficient and rich in spiritual and energetic qualities. By exploring immanent notions such as yielding, respiring, and circulation, which are embodied by charcoal as a material, Lee's work resonates with themes of life and death, absence and presence, light and shadow, form, and emptiness. Lee's oeuvre spans a wide range of mediums and forms, from drawings to canvas-based works, as well as installations, with each new work serving to expand upon his unique vision and approach. Lee’s works have been featured at museums and institutions worldwide including: Venice Biennale, Rockefeller Center, New York, Phi Foundation, Montreal, Canada; Indang Museum, Daegu, South Korea; Wilmotte Foundation, Venice, Italy; Fondation Maeght, Saint-Paul de Vence, France; Musée des Beaux-Arts, Vannes, France; and Musée Guimet, Paris, France. Among many others, Lee’s work is in the permanent collections of museums including the National Museum of Contemporary Art, Gwacheon, South Korea; Seoul Museum of Art, Seoul, South Korea; Leeum-Samsung Museum of Art, Seoul, South Korea; Fondation Maeght, Saint-Paul de Vence, France; Musée Guimet, Paris, France; Baruj Foundation, Barcelona, Spain, and Privada Allegro Foundation, Madrid, Spain.

Kim Taek Sang has been experimenting with the diffusion, sedimentation, and layering of color for over three decades through the medium of water. His process is iterative—mixing trace amounts of pigment into water, pouring the solution onto a canvas laid flat, then allowing it to dry. Repeated dozens of times, this practice is both ascetic and curative; he has come to describe it as the aesthetics of care. This delicate layering of sediment on canvas creates subtle interstices that scatter light and permeate the surface with depth and density, evoking nature's own palette of serene and understated hues. Kim describes his creations as dàamhwa (淡畵 - dàam painting), where dàam carries meanings of clear, delicate, faint, or thin in tint. Kim's earliest works in the early 1990s contained commentaries on socio-political issues, but he experienced an artistic turning point when he was captivated by the prismatic waters of the Yellowstone Caldera. Through this encounter, he began incorporating natural elements—water, air, light, and gravity—into his studio practice, developing a distinctive visual language that bridges materiality and the senses, concept and nature. Kim's works avoid overt contrasts, favoring elusive similarities, subtle oscillations, and minute pulses of light. While his work is discussed within the lineage of Dansaekhwa, his practice stands apart, reflecting a deeply personal exploration of the relationships between nature, humanity, medium, and perception.Kim holds a B.F.A. in Painting from Chungang University and an M.F.A. in Western Painting from Hongik University. His works are included in the collections of the National Museum of Modern and Contemporary Art (MMCA), Kumho Museum of Art; Leeum Museum of Art, Seoul, South Korea and Suwon I'Park Museum of Art, Suwon, South Korea.

Kishio Suga is a Japanese artist known for pioneering site-specific installation art. He created ephemeral arrangements of natural and man-made materials in outdoor and indoor settings, gaining recognition for groundbreaking installations like Parallel strata (1969) and Soft concrete (1970). As part of the Mono-ha movement, he used unaltered natural and industrial materials to explore the interplay between elements, space, and materials. Since the mid-1980s, Suga has adapted his installations to new sites while maintaining their core concepts. His diverse practice includes assemblages, works on paper, and performances called "Activations." He is also a prolific writer, with novels, essays, and a screenplay to his name. Suga has had numerous solo exhibitions at international museums, most recently at Dia: Chelsea, New York, United States (2016–17), Pirelli HangarBicocca, Milan, Italy (2016), and the Museum of Contemporary Art, Tokyo, Japan (2015). A re-creation of his iconic installation Law of Situation (1971) was presented at the 57th Venice Biennale, Italy (2017). Over the past four decades he has been featured in landmark exhibitions at the Centre Georges Pompidou, Paris, France; the Guggenheim Museum, New York, United States; the San Francisco Museum of Modern Art, San Francisco, United States; the Museum of Modern Art, New York, United States; the Punta della Dogana, Venice, Italy; and his work is included in many public and private collections. Kishio Suga held a solo exhibition at Dia Beacon in New York in July 2025.