James Jean was born in Taiwan and attended the School of Visual Arts in New York. He currently lives and works in Los Angeles.
Renowned for his virtuosic ability to work across different genres with an imaginative and multifaceted approach to image making, Jean fuses contemporary subjects with aesthetic techniques inspired by traditional Chinese scroll paintings, Japanese woodblock prints, and Renaissance portraiture. By experimenting with different styles and art-historical genres, Jean depicts detailed cosmological worlds that focus on both individual and universal experiences. Layered with imagery drawn from contemporary culture and age-old allegories, he imagines a collective realm of mythological proportions.
Mella Jaarsma has become known for her complex costume installations and her focus on forms of cultural and racial diversity embedded within clothing, the body and food. She was born in the Netherlands in 1960 and studied visual art at Minerva Academy in Groningen (1978-1984), after which she left the Neth- erlands to study at the Art Institute of Jakarta (1984) and at the Indonesian Institute of the Arts in Yogyakarta (1985-1986). She has lived and worked in Indonesia ever since. In 1988, she co-founded Cemeti Art House (with Nindityo Adipurnomo), the first space for contemporary art in Indonesia, which to this day remains an important platform for young artists and art workers in the country and region.
Han Youngsoo, born in 1933 to a wealthy family in Gaesong developed an interest in photography based on his artistic sensibility, which had stood out since childhood. After serving in the Korean War, he settled in Seoul, having paid attention to social realities, and began his serious photo works through Shinsunwhue, Korea’s first realism photography society. During the rapid economic growth of the 1960s, Han played a pioneering role with a new perspective in the fields of advertising and fashion photography. Then in 1966, he founded Han’s Photo, which became an important foundation for professionalizing commercial photography in Korea as he continued to play a key role in various photography associations and cultural institutions.
Mikyung Kim(b. 1964) explores the accumulation of time, memory, and existence through a practice rooted in repetition and layering. Working across painting, photography, and sculpture, Kim engages in a process-based methodology in which Kim repeatedly applies and removes layers of pigment or inscribes sequential numbers as a meditative, performative gesture. These acts become visual records of introspection. Drawing inspiration from everyday materials, natural phenomena, and personal memory, Kim constructs temporal stratifications across her work.
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