For nearly 60 years, Chun Kwang Young has been developing his own universe directly resulting from the interbreeding of his Korean culture and personal history. The artist creates a work of small volumes wrapped in Korean paper, called "Hanji", made from the mulberry tree, and traditionally used for writing, medical and food packaging.

Each of his works is a game of assembly and interactions between volumes. They compose imaginary landscapes with multiple colors and reliefs that create an infinite and abstract space.

The assembly of these little triangles, covered with ancient texts in Korean or Chinese alphabet, contains many elements of collective memory. It is in these small volumes that all the power of the artist's aggregations resides, like so many windows reflecting his vision of humanity.

Abandoning the traditional tools of the painter and the sculptor, Maurice Frydman uses plastic film as the main vector of his creative process. The plastic film by its flexibility and transparency lends itself to twists, stretching and. For the artist, it is a metaphorical way of evoking the skin, its wrinkles, and its scars.

This approach centered on tension and extensibility, opens all the possible variables of the human body transcended here in a kind of "skin of light".

Kwang Bum Jang draws his inspiration from the Impressionists and their observations of nature and its multiple color variations.

As if to make visible and materialize the passage of time, the artist accumulates layers of paint on the canvas, then engages in a meticulous work of sanding and refining the material, layer after layer.

Satin reflections, moiré, elegant touches of skilfully proportioned colors, the works of Kwang Bum Jang lead to the contemplation of their abstract perspectives.

For Jiana Kim, clay is the means by which she fulfills her desire to draw with light, seeing herself simply as an artist who works with clay rather than a ceramicist.

Jiana Kim's porcelain paintings are reminiscent of the Korean monochrome art movement, Dansaekhwa, of which some of the most prominent representatives are none other than Lee Ufan, Park Seo Bo or Ha Chong Hyun.

Javier Leòn Pérez's abstract and monochromatic compositions undulate with rhizomatic movements. In these three-dimensional works, small pieces of carefully folded Japanese paper intertwine with each other, and trace a dance that draws the viewer towards a parallel reality.

In a way, subscribing to the paths of lyrical abstraction, the works of Javier León Pérez recall not only the formal spaces within the room itself, but also the distant spaces of the mind, soul and emotion, outside the physical limits of the exhibition space.

By repeating simple lines and mixing natural colors, Nam Tchun-Mo creates works that unite the limits of sculpture and painting.

Dynamic and rhythmic lines built on the surface of the canvas with resin, create a harmony between the spaces of shadow and light. Nam Tchun-Mo produces a sculptural painting where lines delimit an infinite space.

Nam Tchun-Mo is one of the brightest artists of the new generation of Korean monochrome, Dansaekhwa.

Influenced by Arte Povera, Paola Pezzi's works are subtle compositions created using ordinary materials, modulated, layered and pleated.

Through the force of de-contextualization, the artist brings a new meaning to each material, ignoring their primary destinations. Paola Pezzi reveals their other lives and possible forms, under her fingers, the materials receive energy and vitality, until they achieve this particular rendering generating a form of seduction.

Made from soap, Meekyoung Shin's works replicate canonical artifacts and artwork, from Asian porcelain vases to Greek and Roman sculptures.

Transposing continents, cultures and centuries, the artist's works, with their thousand and one details, appear in suspended time. They bear the imprint of a dreamy gaze and help to further expand the image of a mythologized past.

Working like a measured rhythm, Moon-Pil Shim's works present a constant oscillation between transparency, sharpness, black areas and fine colored lines. The sheen of the plexiglass and the milky, almost atmospheric presence of the white background are "fluffy like first snow" Tanizaki would have said.

Moon-Pil Shim's works create an imprecise depth, probably distant, certainly mysterious, a depth which draws the perception to a recessed space.

Kim Hyun Sik cultivates the in-between, playing on two registers, two spaces. The palpable one of the resin which makes up the surface, and, much further, the one that we can guess between the infinite furrows which vein the surface of the works.

These fine interlacing, this alternation of spaces, appear like an invitation to a reserved, meditative and mental space. Everything here is played out on the contrast, the tension between matter and color, the openness to confinement, from the surface to the intimate, from the shadow to the light.

Yun Sungfeel's work addresses themes of balance and harmony, examining both the macro and the micro. The artist reveals the constant flow of systems, including those of human existence.

The theories of physics which describe our universe do not always differ from ancient philosophies and Eastern religions which describe the universe as a circulating system of energy. An energy created by an electromagnetic force, Yin & Yang, which tells the repeated cycle of creation and extinction of the universe.