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2025 Artist
Yu-Jung CHEN | DH Neology
Currently he lives and works in Tainan, Taiwan. Yu-Jung CHEN holds a MFA in Institute of Music from National Yang Ming Chiao Tung University, and he majored in multimedia composition. CHEN has undertaken wide-ranging work, including site-specific installations, sound art, new media and performances. In his recent works, he has been focusing on the interactions between space, personal emotions and psychological experiences. He tries to blur the abstract boundaries of perceptions by switching between vision and hearing in space. Most of his artworks start with the conception of space to create a new intermediary space through the mapping of light and information visualisation, thereby revealing a dialectical relationship between real and sensory existence.
Over the recent past, he has also begun to experiment with the interactive and improvised relations between humans and non-human elements through AI computing technology to explore the possibility of dialogue between humans and virtual species. He mainly leverages sound as a creative element in his artworks to further explore the sensory imagination of rationality, technology and spirituality.
Over the recent past, he has also begun to experiment with the interactive and improvised relations between humans and non-human elements through AI computing technology to explore the possibility of dialogue between humans and virtual species. He mainly leverages sound as a creative element in his artworks to further explore the sensory imagination of rationality, technology and spirituality.
Chieh-Sen CHIU | Der-Horng Art Gallery
Born in Taoyuan, Taiwan, Chieh-Sen CHIU graduated from Beaux-arts de Montpellier in France. In 2016, he obtained the French National Higher Diploma in Fine Arts (DNSEP) and in 2014, the French National Diploma in Fine Arts (DNAP). He also holds a Bachelor's degree in Monumental Art Conservation from National Taiwan University of Arts, with a minor in Fine Arts. Chiu focuses on contemporary art, with a particular emphasis on research and creation in human geography and map-making.
Hsu-Tung HAN | East Gallery
For the past 15 years, Han Hsu-Tung has explored the boundaries of sculpture through glued-laminated timber (Glulam). In 2022, he launched the exhibition “digitalWrite(Han Hsu-Tung, Sculpture);”—a major breakthrough that merged traditional craftsmanship with self-taught programming skills.
As a graduate of NTU’s Anthropology Department, Han has been a self-taught artist for over 35 years, creating more than 400 unique pieces. His work blends artistic instinct with philosophical depth, bridging the modern and contemporary through innovation and passion.
As a graduate of NTU’s Anthropology Department, Han has been a self-taught artist for over 35 years, creating more than 400 unique pieces. His work blends artistic instinct with philosophical depth, bridging the modern and contemporary through innovation and passion.
Lien-Chin HOU | The Moolah Multi-Art Space
For sculptor Hou Lien-Chin, creation is not just a technical process—it’s a deep, personal expression. As he says, “Creation is an inner presentation, not just manipulation. The artist’s personality, emotions, and preferences naturally shape the work.” Trained in stone carving at Tainan National University of the Arts, Hou believes that true art stems from within, shaped by the artist’s unique inner world. His work reveals the purity of the self, untouched by external expectations.
Drawing inspiration from observing people and everyday life, Hou channels these moments into his sculptures, turning them into emotional expressions and personal reflections. Working with the hard, heavy material of stone, he blends thoughtful insight with skilled technique to create works that resonate with warmth and humanity. For Hou, each piece is both an emotional release and a journey toward self-discovery, offering a satisfying sense of resolution once completed.
Drawing inspiration from observing people and everyday life, Hou channels these moments into his sculptures, turning them into emotional expressions and personal reflections. Working with the hard, heavy material of stone, he blends thoughtful insight with skilled technique to create works that resonate with warmth and humanity. For Hou, each piece is both an emotional release and a journey toward self-discovery, offering a satisfying sense of resolution once completed.
HSIA, Ai-Hua | The Moolah Multi-Art Space
Taiwanese artist Ai-Hua Hsia uses the traditional dry lacquer technique to explore the subconscious through sculpture, painting, and installation. Her work reflects deep emotional landscapes and dreamlike forms.
She has joined international residencies across the U.S., Japan, and Romania, including ISCP New York and Fukuoka Asian Art Museum. In recent years, her exhibitions in Japan—centered on healing and hope during the pandemic—have deeply resonated with local communities.
She has joined international residencies across the U.S., Japan, and Romania, including ISCP New York and Fukuoka Asian Art Museum. In recent years, her exhibitions in Japan—centered on healing and hope during the pandemic—have deeply resonated with local communities.
Ko-Wei LAI | Der-Horng Art Gallery
Lai Ko-Wei’s works often involve the use of molds to create pieces primarily in ceramic and plastic. Through material transformation, intensive physical labor, and the collection of materials, they explore the blurred boundaries between space, scale, value, identity, and systems—seeking to evoke ambiguous imaginations through the contradictions inherent in these states.
Yu-Ching LIN & Hsing-Yu WEI | Dynasty Gallery
Lin Yu-Ching & Wei Hsing-Yu are a collaborative artist duo who have been creating together for over 17 years. Their works are characterized by patiently layered gradients and color blocks, forming a rich, moist, and serene visual ecosystem. This balanced use of color evokes the softness of traditional tempera or fresco painting, reminiscent of European religious murals with a sense of synchronicity—condensing long narratives into a single frame that invites viewers to freely explore and immerse themselves in every detail.
At the heart of their work is “Wulala,” a guiding spirit-like character that carries the artists’ anxieties about the unknown and their passionate hopes for the future. Wulala leads viewers into a vivid, fantastical world of imagination. Over time, Wulala and its companions have taken on diverse forms, each embodying different messages from the artists. Accompanied by cryptic poetic phrases, like whispers from a vinyl record, the works gently unveil the hidden murmurs of reality, guiding the audience into deeper, dreamlike inner landscapes.
At the heart of their work is “Wulala,” a guiding spirit-like character that carries the artists’ anxieties about the unknown and their passionate hopes for the future. Wulala leads viewers into a vivid, fantastical world of imagination. Over time, Wulala and its companions have taken on diverse forms, each embodying different messages from the artists. Accompanied by cryptic poetic phrases, like whispers from a vinyl record, the works gently unveil the hidden murmurs of reality, guiding the audience into deeper, dreamlike inner landscapes.
Hsin-Yin LIU | AKI Gallery
Born in Taiwan, Hsin-Ying Liu lives and works between Malaysia and Taiwan. Her practice transforms abstract sensations of life and perception into visual whispers, breaths, and force through painting. With a unique sensitivity, she reshapes reality, nature, and humanity—exploring the emotional and structural relationships between herself and her surroundings.
Her flowing lines and moisture-rich colors extend outward like soft voices, infused with a strong sense of self-awareness. In her works, bold, raw strokes and layered forms seem to speak of a crumbling urban civilization, overtaken by wild imagination, where nature and spirit rise freely through the cracks.
Her flowing lines and moisture-rich colors extend outward like soft voices, infused with a strong sense of self-awareness. In her works, bold, raw strokes and layered forms seem to speak of a crumbling urban civilization, overtaken by wild imagination, where nature and spirit rise freely through the cracks.
Christoph RUCKHÄBERLE | AKI Gallery
German artist Christoph RUCKHÄBERLE studied animation at CalArts and painting at the Academy of Visual Arts Leipzig under Arno Rink. A leading figure of the “New Leipzig School,” his work spans painting, publishing, and experimental theater.
His vibrant, puzzle-like compositions feature distorted, cartoonish figures and bold patterns. Deconstructing form and space with playful precision, Ruckhäberle invites viewers to create their own narratives within his fragmented scenes.
His vibrant, puzzle-like compositions feature distorted, cartoonish figures and bold patterns. Deconstructing form and space with playful precision, Ruckhäberle invites viewers to create their own narratives within his fragmented scenes.
Wong-Shen SU | The Moolah Multi-Art Space
SU, Wong-Shen born in Puzi City, Chiayi, Taiwan, graduated from the College of Chinese Culture (Chinese Culture University Department Of Fine Arts). Now lives and works in Tainan, Taiwan.
“The current works are the improvisations in the wilderness under vexation and depression. The scenario comes from:
The music from the bundles of CDs beside the music
Insects parasiting under the rotten leaves
Traditional food market Neighbor’s TV
The Panping－Shan Trail
Uniform－invoice prize
Waiting
A dog coming often begging for food
A dismantled village
Burnt leaves
Rivers that cut Taiwan Island
The color of tea
Time
Lonely dumbbells
Daydreams with eyes open
The word that I don’t remember
Lemon juice
Text on a real estate ad
Tweedle of Muller’s Barbet
Traffic report
Moods of the politicians
Air pressure
Touring cost
Paint wasted
That cup of warm milk before sleep”
“The current works are the improvisations in the wilderness under vexation and depression. The scenario comes from:
The music from the bundles of CDs beside the music
Insects parasiting under the rotten leaves
Traditional food market Neighbor’s TV
The Panping－Shan Trail
Uniform－invoice prize
Waiting
A dog coming often begging for food
A dismantled village
Burnt leaves
Rivers that cut Taiwan Island
The color of tea
Time
Lonely dumbbells
Daydreams with eyes open
The word that I don’t remember
Lemon juice
Text on a real estate ad
Tweedle of Muller’s Barbet
Traffic report
Moods of the politicians
Air pressure
Touring cost
Paint wasted
That cup of warm milk before sleep”
Hsi-Te, SUNG | Dynasty Gallery
Born in Keelung in 1964, Hsi-Te SUNG holds a Doctorate in Fine Arts from Tokyo University of the Arts and is currently an Associate Professor in the Department of Sculpture at the College of Fine Arts, National Taiwan University of Arts (NTUA). From 2001 to 2010, he taught in the Department of Visual Communication Design at NTUA. With a professional background in both design and aesthetics, he explores the contrast between the ephemeral and the eternal, using concepts to guide his technical expressions.
The themes of "humanity," "movement," "environment," and "spatial context" have always been central to SUNG's artistic exploration. He seeks to infuse warmth into the stark, reflective nature of stainless steel, utilizing color and light refraction to soften its cold surface. By integrating immaterial elements such as light, motion, and magnetism, he constructs multi-dimensional possibilities within his works. In recent years, in addition to kinetic art, he has focused on steel-cutting techniques, exploring the contrast between polished stainless steel and rugged steel textures. Through his landscape series, he delves into materiality and the expressive aesthetics of spatial interpretation.
The themes of "humanity," "movement," "environment," and "spatial context" have always been central to SUNG's artistic exploration. He seeks to infuse warmth into the stark, reflective nature of stainless steel, utilizing color and light refraction to soften its cold surface. By integrating immaterial elements such as light, motion, and magnetism, he constructs multi-dimensional possibilities within his works. In recent years, in addition to kinetic art, he has focused on steel-cutting techniques, exploring the contrast between polished stainless steel and rugged steel textures. Through his landscape series, he delves into materiality and the expressive aesthetics of spatial interpretation.
Atsuo SUSUKI | TEZUKAYAMA GALLERY
Suzuki, born in Aichi Prefecture, completed his studies in 2001 at the Graduate School of Education, Shizuoka University. Currently, he is an active artist based in his hometown of Toyohashi City, Aichi Prefecture. He calls his own works “Carved Painting”, and by carving out with a carving knife the multiple pigment layers painted repeatedly on the panels, he produced many works with an art style that paints various design patterns. The production method is similar to carved lacquer in terms of techniques, but the surface of the paintings created by Suzuki offers to the viewers vivid traces of an artist’s conduct to an extent where one can even feel the artist’s breath. And, at the same time, the fault lines on the pigments that manifested through the repeated act of “carving” tell a story about the enormous amount of time the artist had spent confronting the works.
Keiichi TANAAMI | NANZUKA
Born in Tokyo in 1936, and graduated from Musashino Art University. Tanaami, who actively traverses the boundaries of professions through his eclectic work as an art director, graphic designer, illustrator, videographer, and artist, is a highly acclaimed role model for today’s generation of cross-disciplinary artists. Employing the design methodology of ‘editing,’ he continues to engage in a creative practice that extends beyond the framework of fine art, producing a diverse oeuvre ranging from collages to prints, drawings, animation, experimental films, paintings, three-dimensional works, and installations. He is also widely recognized internationally as a Japanese pioneer in the ever-expanding context of Pop Art.
Tomoya TSUKAMOTO | ADMIRA Gallery
Born in 1982, Tsukamoto is a contemporary painter and artist based in Kanagawa, Japan. Using an airbrush, he builds layers of minuscule dots that shimmer with pointillist luminosity, contrasting them with fluid drips and brisk brush‑marks. Successive veils of red, blue and yellow—the three primary colours—are sprayed so that the hues blend optically, dissolving the boundary between figure and ground.
Motifs such as cherry blossoms, koi carp, human silhouettes and deer allow him to probe cycles of light and shadow, life and death. Stencils cast from living plants and alternating positive / negative images contemporise Georges Seurat’s optical theories and the decorative spirit of the Rinpa school. Balancing a distinctly Japanese sense of “kazari” (ornament) with a pared‑down, minimalist approach, Tsukamoto invites viewers into an immersive chromatic field.
Motifs such as cherry blossoms, koi carp, human silhouettes and deer allow him to probe cycles of light and shadow, life and death. Stencils cast from living plants and alternating positive / negative images contemporise Georges Seurat’s optical theories and the decorative spirit of the Rinpa school. Balancing a distinctly Japanese sense of “kazari” (ornament) with a pared‑down, minimalist approach, Tsukamoto invites viewers into an immersive chromatic field.
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