Art Hall - C4
Listen to the artist's voice
Look at the artist's expression
Read the artist's mind
The BIEAF is with artists.
Gallery 23
BIEAF2025 - The Lost Center
World Artist Invitation Exhibition
BIEAF Steering Committee announces BIEAF2025 participants. 641 artists were selected from 80 countries. The online exhibition will run from September 10, 2025 to February 28, 2026. During this period, offline exhibitions will be held at various galleries in Busan.
Gallery 01 Artists and Works Slide * You can mark hearts on your favorite artists and works.
BIEAF2025 Invited Artist
Sunaina Devi
Nepal
Nepal-based traditional artist Sunaina Thakur is known for her Mithila folk traditional art work across the world. She underwent several training on Mithila art. With her creations she has exhibited her solo show in Nepal and abroad. She has received many honors for her paintings. Mithila culture or Mithila culture refers to the culture which originated in the Mithila region India and some adjoining districts of Nepal. King Nimi was the first ruler of the Videha kingdom. I am dedicated to promoting the rich cultural heritage of Nepal through the traditional art form of Mithila painting. Our mission is to not only preserve this ancient art form, but also to empower and Introduction uplift women in our community by providing them with an opportunity to showcase their talents and tell their stories through their art.Sunaina Thakur is protecting this thousand-year-old art with its basic style of technique and forms of tradition. She has exhibited her solo shows at New York, Japan, Sri Lanka, India, and many others. Apart from self working she also trains others to adopt this art of painting. Sunaina Thakur's efforts in saving Mithila arts in Nepal are part of a broader narrative that spans centuries of artistic evolution and cultural significance. Originating in the 7th century, Mithila art has been traditionally crafted by Maithili women, who used natural pigments and dyes to create intricate designs and motifs. These artworks, beyond mere decorations, were deeply expressive of the artists' emotions and aspirations. Techniques varied from finger painting to using twigs and brushes, showcasing the artists' resourcefulness and skill.As societal dynamics changed, Mithila paintings transitioned from household adornments to being integrated into festivals, weddings, and other communal celebrations. This wider adoption within the community contributed to the art form's growth and cultural relevance.Themes in Mithila paintings often drew from Hindu mythology alongside contemporary subjects, reflecting a blend of ancient narratives and modern realities. This fusion lent depth and complexity to the art, mirroring the cultural transitions of the region. The shift from wall murals to paper and canvas broadened the reach of Mithila art, making it accessible to a wider audience nationally and internationally. This evolution led to increased recognition and appreciation from art enthusiasts and collectors globally.Janakpur, as the former capital of the Mithila kingdom, plays a pivotal role in preserving and promoting Mithila art in Nepal. It serves as a focal point for nurturing this ancient art form, providing a platform for artists, scholars, and enthusiasts to come together and celebrate its enduring beauty and cultural significance. The development of Mithila art in Nepal showcases the resilience and creativity of its practitioners, highlighting the rich cultural heritage of the Mithila region.
Women Empowerment
Canvas/22“x30”/2024
This painting is made for women empowerment. It shows that women are the creators of our society and country. If there is female power, then Lakshmi does not live in a house where there is no woman. That house looks like an orphan. Our women sisters do not give importance to the activities they do from morning to evening. Women are seen as objects. In our society, after marriage, women are only understood to give birth to children, cook food and take care of and serve the family. In this painting, I have made a woman. And in her two hands, the earth is held and in her other hands, education, household work, training, care, etc. are shown. And I have given an open sky behind her. I have also given trees on both sides. And the border is filled with flowers, that is, women, tradition, culture, lifestyle, customs, etc., have all moved forward with love. happens Women are as gentle as flowers. And they are also empty after they fall. That is why women are also called the form of Durga, Lakshmi. Women are the mother of the world, women are the mother of the earth. Our society and country should understand this. And we should respect their rights and dignity.
BIEAF2025 Invited Artist
Oh Sung Cheol
Korea
Defector painter. North Korean military propaganda department, currently a South Korean artist.
It is a representation of the essence of expression and deals with the excretion of instrumentality and self-rationalization. It uses discarded plastic and wood sawdust as materials for environmental problems.
표현의 조건형식
캰버스위에 혼합재료, 16.2x130.3 /2023
BIEAF2025 Invited Artist
Baik Sungheum
Korea
*개인전26회/서울,부산,대구,울산,창원,거제 *개인초대전12회/서울,부산,대구,울산,창원,거제 *국내외아트페어 BAMA, KOAS, KASF등 단체전다수 *2021오늘의 작가상 본상 수상 *작품소장/부산성모병원, 하늘공원, 희망병원, 동아미술관, BNK부산은행, 갤러리GL등 다수 *현/한국미술협회, 부산미술협회, 국제현대작가협회 회원
별내리는 밤
acrylic on canvas 30X30cm 2024
BIEAF2025 Invited Artist
HA SUNGOK
Korea
현부산미협회원 부산사생회회원 동래미술인협회이사 예이제회 회원 부산미전입상 기타 전시회 참여
독
30호 oil
BIEAF2025 Invited Artist
Sunhee Park
Korea
991 The state university of New York The college at New Paltz : basic stone lithography. 1993 BFA Hong Ik University, majored in printing making. 1996 M.Ed Ewha Women’s University Graduate School of Education 2024 Busan Women Artists 50th Commemorate exhibition. 24-23 Solo exhibition print. 2022 korea Contemoprary Fine Art Exhibition/ A Promised land. 2022 4th Ulsan Asian Prints Exhibition. 2021 BAMA(Busan Annual Market of Art) Gallery UD
Old Future 25
woodcut,linocut,silkscreening/10호/2025
I started on my piece as attribute to the people who went through those tough times. I was hoping that my art could provide support and consolation. When I was working on dandelions, I wanted to viewer to feel the life and hope that
lies within those seeds.
BIEAF2025 Invited Artist
Cho sunim
Korea
대한민국 부산에서 작가로 활동중인 조선임 입니다. 아주 작은 화실을 운영하고 있으며, 지역에서 그림지도를 하고 있습니다. "100세 인생 그림교실 컬러링북1.2를 제 작하였습니다. 더불어 100세 인생 그림전시회도 8회 진행 하엿습니다, 2024년에는 전시와 더불어 "조아빠" 그림 동화책을 제작하였습니다.
Face of our time
composite/75x63cm/2025
Face of our time : 이 시대를 살아가고 있는 나는 끊임없이 반문하고 있다.
작가로서 사회적 이슈에 반응하고, 시대의 아픔을, 기쁨을, 삶의 깊이를
작품에 표현하려고 노력하고 있다.
"Face of our time"은 냉철한 시선으로 세상을 바라보되,
따뜻한 가슴을 잃지 않는 작품으로서 나의 파랑은 희망의 색상이다.
파랑의 다양한 색상에서 당신만의 파랑을 찾기를 희망한다.
BIEAF2025 Invited Artist
Kim sunjung
Korea
빛이가득한삶은무엇일까 빛을쫓는사람들 고독속한줄기희망.빛을찾는다. 빛을품는다 . 빛을갈망한다 삶의끝은빛으로가득하길 작가는차갑지만 따뜻한 슬프지만행복한 투박하지만섬세함 빛의갈망을 작품에담습니다
생명력
캔버스아크릴.30호.2025
고독하고각박한삶속에서
차가운삶속에서
환하게피어오르고싶다
나는 환하게 빛내고싶다
척박함을 하얗게물들이며
피어나고싶다
BIEAF2025 Invited Artist
SUNMI YOUN
Korea
애착생사(attached life and death)
혼합재료 20x20(4개) 2025
살고 싶고 죽기를 싫어하는 인간(人間)의 정(情)
BIEAF2025 Invited Artist
Sureily D. Marestein
United States
Sureily D. Marestein, a 21-year-old recent BFA graduate in Drawing, is known for being a Mixed Media artist. Born in Fort Campbell, Kentucky, United States, however, she was raised in Puerto Rico. Her nationalities are Puerto Rican and Mexican. At a young age, the artist discovered her beginning language of art through drawing with the use of vibrant colors and visual interpretations of her surroundings. She went through art schools, learning skills and techniques that she turned into her way of creating works of art. She has currently finished her education in Miami and graduated with her BFA. The artist considers herself a mixed media artist in which she incorporates surrealism and abstractionism based on combining interpretations, expressions, and elements of emotions. Within her series of works, she uses variations of mediums such as dry mediums, wet mediums, and textures.
Coexistent
Mixed Media/ 36'in x 48' in/2025
A social experiment project that focuses on exploring individual existences, divided into triptych pieces. The theme explores the idea of how we, society, choose roles we shape ourselves through stages of life while the act of alienating ourselves from the world. To discover what we share in similarities or differences despite our diversity, I decided to have a one-on-one online conversation with three strangers who volunteered. To discuss, learn, and share their experiences. In the results of gathering their stories, I turn them
into my interpretations by transforming their existences into steps of evolution. Allowing their stories to become their own surreal body of art and voice.
BIEAF2025 Invited Artist
Tac Bafra
Türkiye
"Born in Istanbul in 1973, I studied Fine Arts Education and Journalism. My works are mostly in red and blue tones. I focus on the balance of color and line, emphasizing natural flow and inner rhythm, guided largely by intuition."
As humanity advances technologically and the population increases, the essential elements of life on Earth are being neglected. Governments must come together to establish and adhere to protective regulations on this sensitive issue. However, such awareness is still lacking. As a result, we are silently allowing the destruction of our planet. Individuals also fall short, often
thinking, “What can I do alone?”—meanwhile, the climate crisis continues to deepen. Government initiatives are insufficient as well. Artists hold a leading role in society. Therefore, they have the potential to unite and form organizational structures to raise their voices. Including this issue in their works helps raise awareness, but it is not enough. I believe they should actively use their influence and reputation to initiate impactful actions on decision-makers, rather than remaining passive.
Sunseekers by Tac Bafra
Painting Acrylic on the Canvas 80x100x2 cm Turkey 2014
This work alludes to the legend of the mystical Simurgh, where birds—Each
symbolizing an emotion—journey toward the sun in search of freedom. Their abstract forms reflect transformation through inner limitations, evolving into Simurghs. The blue sky and orange sun balance this path of unity and growth.
BIEAF2025 Invited Artist
KIM TAE IN
Korea
Kim Tae-in, at Hannam University's painting program, transforms clothing's sensory qualities—texture, form, color—into evocative art. She masterfully weaves fashion's emotional echoes into unique visual narratives. In 2024, Kim exhibited in "We, Our Us," "Your Emotions," and "New Explorations." Her accolades include selection in the Daejeon Art Exhibition and Necktie Design Contest, plus an Excellence Award in the Student Fashion Design Contest.
하의
판넬에 혼합 재료 / 53.0cm × 45.5 / 2024
This painting visualizes inner emotions through the rhythm, texture, and
memory of fabric closely attached to the body. The softness, coolness, folds,
and patterns of textiles flow across the canvas like fleeting emotional traces in
daily life. Techniques such as dripping, lifting, and alla prima emphasize
spontaneity and chance. Within abstract forms, waves of conflicting emotions
—anxiety and anticipation—unfold. It is an inner landscape woven through the
sensory threads of fabric, translated into a visual language.
BIEAF2025 Invited Artist
Heo TaeMyung
Korea
The author majored in art education and was an art educator who mainly worked on Western paintings, prints, and designs. He is a laborer and an artist. He graduated from the Graduate School of Art Education at Pusan National University and the Graduate School of Design Education at Pukyung National University. He has held one solo exhibition, and has exhibited at the Busan Printmakers Association regular and planned exhibitions since 1986, and over 200 group
exhibitions including the Busan International Environmental Art Exhibition.
Description of the work :
From the 2nd century until now, all the colonial countries in the world have been subjected to the cultural invasion of the coercive and commercial giant Europeanism. The colonial countries have lost their own culture and art and
are in a state of confusion about their identity in a unified globalism.
Furthermore, the phenomenon is becoming more serious due to war, abnormal climate, and economic imbalance. Due to the loss of art with
identity, even the opportunity to speak about the current life and social phenomena has disappeared. I think that we must recover the loss of our own cultural identity. And I tried to express this gloomy and unhappy world. I chose
the formativeness of European culture and cast a shadow, and underneath it, I expressed the Korean traditional dance called “Seungmu (a Korean Buddhist dance)” tragically. I created vector shapes in a non-linear 3D program and
mapped colors and textures to create a digital image.
The Shadow of Civilization
Digital work and printing / 70x70cm / 2025
BIEAF2025 Invited Artist
Takao Kakuma
Japan
Artist(Painter,Writer, Animation,),Born from Takaoka, After graduating from Kyushu university, I wandered around the world as a backpacker, 2004Grand Prix at the Onojyo Printmaking Biennale, Participated in solo exhibitions and international exchange exhibitions in Japan and various countries(Korea, China, Bulgaria, USA, Thailand, Poland, Australia) Fukuoka city magazine cover making(98-03), Writing at Pusan University Theory(2004) Tura Moiranen’s ”Japanese Prints” Cover(Finland 2003) Collections of works at LA County Museum of Art
When we continue
war and environmental destruction,
our earth will disappear.
Apple
Acrylic painting/ 594x420mm/2025
We many people were on the galactic train "earth", but one day everyone was
gone, and I was left alone.
BIEAF2025 Invited Artist
Takoua Mned
Tunisia
Takoua Mned is a visual artist and academic researcher, born in 1982 in Sousse, Tunisia. She holds a PhD in Aesthetics and Artistic Practices, specializing in Fine Arts, from the Higher Institute of Fine Arts of Sousse, obtained in 2019. Her research focuses on the duality of body and identity. Since 2005, she has participated in numerous group exhibitions both in Tunisia and abroad. She has also held solo exhibitions in 2022 and 2024. In 2024, she published a book entitled “Women and the Seduction of Photography in Tunisia”, with Logoss Publishing House. She has taken part in several national and international scientific conferences and has published academic articles, in addition to contributing chapters to collective books and participating in academic symposia. Alongside her artistic and research activities, Takoua Mned has shown a strong commitment to mentoring young talents and supporting emerging creative energies through leading workshops and artistic gatherings. She has also participated in jury panels and contributed to the organization of exhibitions and art symposiums.
Double faced
Sculpture, Raku (ceramics)
In this work entitled “Double-Faced”, artist Takoua Mned explores the complexity of fragmented identity through a powerful visual and symbolic duality. Two faces merge, overlap, and confront each other, creating a hybrid form that embodies the internal struggle between the self and the other, between inner truth and outward appearance. The use of the raku technique, with its characteristic cracks and unpredictable surface effects, goes beyond the aesthetic to become a language of expression. The traces of fire, the scars, and the surface fractures reflect time, vulnerability, and memory—transforming the ceramic into a skin that carries emotional and existential depth. This dual composition reveals two distinct yet inseparable aspects: one face appears worn, punctured, and fragile; the other is more stable yet still marked by tension. The vivid red lips stand out, suggesting voice, desire, and resistance, or perhaps a silent scream that resonates through the fractures of identity. “Double-Faced” does not merely represent contradiction—it embodies multiplicity. It may evoke dual gender, cultural hybridity, past and present, or mask and reality. It becomes a mirror of the human condition in an era where identity is fluid, unstable, and constantly renegotiated. Through this piece, Takoua Mned invites the viewer to reflect on the fragility of being, and to question the surface of things. The cracked skin becomes a space of unveiling, not concealment—a site of resistance to uniformity, and a poetic expression of the contradictions that shape who we are.
BIEAF2025 Invited Artist
Tashfeen Rizwan
Pakistan
My painting is a dialogue with my roots—Mohenjo-Daro. I don’t recreate the
past, I feel it. Through abstract forms and earthy tones, I express a civilization
that lives in me. I’m not just inspired by Indus Valley—I’m made of it. Heritage
meets emotion, memory becomes form.
Echoes of Mohenjo-Daro
Oil, acrylic on paper|70x50cm|2025
My work is my inner dialogue with Mohenjo-Daro — the land I was born in, the soul I paint from. I don't recreate its history; I transform its essence into abstract forms, textures, and emotions. Each brushstroke reflects memory, silence, and resilience. I carry that lost world within me — not as a story of the past, but as a living presence. Through earthy tones and solitary figures, I express how my heritage speaks through me. I am not just inspired by it — I am made of it.
BIEAF2025 Invited Artist
Tawat limsakul
Thailand
Whether animals or humans,they are both hunters and prey.Animals hunt
because they are hungry, but humans hunt not only for survival,
but also because they are greedy and selfish.
Who is the noble animal?
Noble Animal
Oil on canvas 100 x120 2023cm
BIEAF2025 Invited Artist
Téa Popović
The Netherlands
Téa Popovic was born in Belgrade, Serbia. She graduated from the Academy of Fine Arts in Belgrade in 1999. In 2002 she received an MFA (painting) from the same Academy. She is living and working in The Netherlands. Beside solo exhibitions (e.g. in Belgrade, Utrecht, Haarlem, Heerhugowaard, Zundert, The Hague) Téa Popovic participated in many group exhibitions Téa draws inspiration from a diverse array of sources, including everyday life, politics, flm, fiction, feminism, popular culture, and history. Perpetually seeking new ways to interpret the everyday, Téa aims to create space for new perspectives by continuously learning, gathering knowledge, and processing experiences. She views the relationship between art and knowledge as a means to understand the world's complexities and contradictions.
The Lost Center" as a theme for an art exhibition delves into a profound idea:
that contemporary art reflects a crisis in both humanity's relationship with
itself and with the environment. It suggests that something fundamental – a
"center" of meaning, connection, or stability – has been lost or is under threat
Environmentally-friendly, therapeutic, pseudo-travelling to the state of calmness, missing at the place of viewer's current location
oil pastel on paper, 40x60cm, 2020
La Capitana
oil pastel on paper 60x40cm, 2021
1. My painting, 'Environmentally-friendly, therapeutic, pseudo-travelling to the state of calmness, missing at the place of viewer's current location' (2021), directly confronts the multifaceted nature of 'The Lost Center,' particularly as it relates to the contemporary human condition and our relationship with the environment. The serene beach scene, rendered in oil and pastel, belies a profound irony embedded in its title. It critiques a paradox of modern environmental consciousness: the very act of being 'environmentally-friendly' (by foregoing physical travel) can lead to a 'pseudo-travelling' that, while reducing ecological footprint, paradoxically highlights a 'lost center' of authentic human experience and direct engagement with the world. The phrase 'missing at the place of viewer's current location' underscores a pervasive sense of displacement and a yearning for an idealized peace that remains elusive in our immediate realities. This work serves as a philosophical inquiry into the compromises and disconnections inherent in our attempts to navigate the environmental crisis. It questions whether our search for 'calmness' through mediated or absent experiences points to a deeper societal malaise, a crisis where true presence and a genuine connection to our surroundings have been eroded. Through this visual and textual juxtaposition, I aim to spark a critical dialogue about the nature of our desires, the true costs of 'progress,' and the urgent need to reclaim a 'source' of authentic well-being and integrated ecological harmony for a better future." 2. My painting 'La Capitana,' rendered in pastel on paper, delves into 'The Lost Center' by examining the complex interplay of consumer culture, globalization, and the often-hidden dynamics of commodity trade. The vibrant, almost propagandistic imagery, centered around the stylized 'Capitana' figure and prominent coffee beans with their enticing slogans, serves as a critique of a civilization where 'bold' and 'decadent' tastes can overshadow the ethical and environmental realities of their production. It questions how the 'expression of humans and civilization' becomes intertwined with marketing narratives and global supply chains, often obscuring the 'source' of products and the human/environmental impact in regions like Bolivia. This artwork embodies my passion to 'do philosophy' by provoking viewers to look beyond the alluring façade of consumerism and consider the deeper societal and ecological costs that contribute to our collective 'lost center' of authentic value and responsibility, urging a dialogue for a more transparent and equitable future." "La Capitana" works well with the theme by focusing on the societal and economic aspects of "The Lost Center," particularly through the lens of consumerism and its global implications. The raw, energetic quality of the pastel medium itself adds to the sense of a critique being actively made.
BIEAF2025 Invited Artist
Teresa Valero
Spain
Multidisciplinary artist currently residing in Reus. Designer, painter, and sculptor who creates her work using different materials and supports such as paper, clay, wood, stone, cardboard, graphic art, etc. She also creates numerous installations. Geometry is an important source of inspiration for her. Her latest works have led her to use new technologies and experiment with AI. The unexpected results leave us surprised and reflecting on the fragility and uncertainty of this new digital paradigm of the "Ghost in the Machine" (Gilbert Ryle).
FRACTURA DEL ORDEN
Digital / Not Applicable / 2025
*"Fractura del Orden": Digital Art Pieces Exploring Geometry and Uncertainty* "Fractura del Orden" (Fracture of Order) is a digital art collection that explores the intersection of geometry and uncertainty. By utilizing artificial intelligence algorithms, the artist has generated a geometric landscape that disintegrates and recomposes in unexpected ways. The geometric patterns and forms intertwine and break, creating a sense of fragility and vulnerability. *Exploring the Relationship between Order and Chaos* The artworsk invite the viewer to reflect on the relationship between order and chaos, and how technology can influence our perception of reality. The artificial intelligence has been used to generate patterns and forms that develop autonomously, creating a sense of surprise and discovery. The pieces challenge the viewer to consider the implications of our dependence on machines and the role of technology in shaping our understanding of the world. *Technique and Significance* The artworks have been created using artificial intelligence algorithms and digital rendering techniques. The result is an image collection that combines geometric precision with uncertainty and randomness. "Fractura del Orden" is a reflection on the human condition in the digital age, inviting us to question our relationship with technology and consider the implications of our dependence on machines. *The Ghost in the Machine* The artworks are inspired by the idea of the "Ghost in the Machine" (Gilbert Ryle), which questions the relationship between the mind and the body. The artist has used this idea as a starting point to explore the relationship between human creativity and artificial intelligence. The pieces raise important questions about the role of the creator and the creation in this new digital paradigm. *Conclusion* "Fractura del Orden" is a thought-provoking digital art piece collection that challenges the viewer to consider the implications of technology on our understanding of the world. By exploring the intersection of geometry and uncertainty, the artworks invite us to reflect on the relationship between order and chaos, and the role of artificial intelligence in shaping our perception of reality.
BIEAF2025 Invited Artist
Thanh Lan Luu Thi
Vietnam
Greetings, my name is Luu Thi Thanh Lan. I was born on March 9, 1971, my email is: thanhlanpdu@gmail.com, My mobile is: +8413021575. I am currently at 207, ward 143 Nguyen Chinh Street, Hoang Mai Province, Hanoi, Vietnam. I graduated from Vietnam University of Fine Arts in 1994. I am also a member of the Vietnam Fine Arts Association since 1992, and Member of the Hanoi Fine Arts Association. Some of my main works are well-recognizable such as: The tree of life, Island keeper, The Viet bird, Seasonal change, Monsoon, etc.... Furthermore, I’ve been awarded some prizes such as: Prize B at National Fine Arts Exhibition 1995, Bronze Medal at 10-years Sculpture Fine Arts Exhibition 2005 and some awards from many regional exhibitions. Some of my works are displayed in Nha Trang City, Hue City, Viet Tri City, …
BIEAF2025, or the Busan International Exhibition & Art Fair, features the
theme 'The Lost Center - Art in Crisis,' focusing on how contemporary art
addresses societal, political, and environmental challenges. The 22nd BIEAF
emphasizes environmental issues and the fragile relationship between
humans and nature, aiming to foster dialogue, resilience, and innovation
through exhibitions, performances, and artist interactions. The festival seeks
to inspire viewers to reflect on the crises impacting our world and work
towards sustainability through powerful artistic messages.
Lung Ong/ Back of the Bee
Terracotta, Ceramic Glaze/60x45x45 (cm)/2024
The sculpture derives inspiration from the anatomical features of a bee's back, transforming this natural form into a visually arresting and conceptually profound artwork. This sculpture, inspired by the Vietnamese proverb "That day lung ong," lyrically captures the beautiful appeal of a woman's hips while honoring their industriousness and diligence, so embodying a significant cultural narrative. The idiom highlights the intrinsic beauty and strength present in women's roles throughout both tradition and contemporary, rendering this artistic work profoundly impactful. The design of the sculpture incorporates a succession of interwoven parts, symbolically termed "bee's back" bricks. These components are meticulously arranged to reflect the bee's segmented exoskeleton, renowned for its functionality and grace in nature. This deliberate arrangement includes the integration of "hips" blocks, which are carefully placed to augment the sculpture's dimensionality and depth. The interaction among these diverse aspects creates a multifaceted view, prompting viewers to engage with the artwork from multiple angles and facilitating an active discussion between the piece and its audience. The sculpture, through its artistic decisions, both respects the conventional imagery linked to the idiom and articulates a compelling message regarding the unity and solidarity of women in modern society. The sculpture enhances the discourse on women's contributions and duties by artistically merging elements that represent femininity and industriousness. It highlights the dichotomy of softness and strength, traits esteemed in both traditional and contemporary contexts, advocating for an understanding of women's collective and individual identities. Furthermore, the creative composition of the piece emphasizes a significant cultural narrative—one that recognizes the peace and equilibrium women endeavor to achieve and sustain in their daily lives. The artist's aesthetic choices underscore the concept of community and connectivity in contemporary society, demonstrating a profound and nuanced comprehension of women's roles. This sculpture surpasses basic aesthetic value to convey a more extensive societal message. It serves as both an homage to the cultural importance of Vietnamese idioms and an artistic examination of the changing roles of women. This artwork encourages reflection and admiration, highlighting the complex essence of femininity and the resilient spirit of women who diligently contribute to the fabric of modern civilization.
BIEAF2025 Invited Artist
Thuy Nguyen Thu
Việt Nam
Nguyen Thu Thuy (b. 1977, Hanoi, Vietnam) creates mono prints, polygonal paintings, and ceramics exploring identity and nature. Her vivid geometric portraits reflect emotional resilience and life’s fragmented, interconnected moments, inviting reflection on self and shared human experience. Thuy invites viewers to explore the layered complexity of human experience and the multifaceted essence of identity and shared self-reflection.
Moutain Flame
Acrylic 90x110 2025
"Mountain Flame" (2025) is a vibrant geometric abstraction of nature, rendered in my signature polygonal cubism. It captures the shifting balance between mountain peaks and dense forests through interlocking angular facets. Warm reds, yellows, and greens blaze across the upper half like a sunlit canopy, while cooler blues and aquas below suggest misted rivers and valleys. The painting reflects a fractured world—where climate change and human conflict pull us from the center, threatening all life. Fragmented planes shaped by light and shadow form a crystalline terrain, echoing both the earth’s solidity and the fragility of an endangered environment.
Samsara Circle
Ceramic 37x60x40cm 2023
Samsara means "wandering through, flowing on", as well as "world" wherein the term connotes "cyclic change", is linked to the karma theory and refers to the belief that all living beings cyclically go through births and rebirths. People are born, die and reborn in another life, a cycle that never stops. The samsara circle sculpture is decorated by pheonix motif with blue and white cracked glaze. The skull and the circle of samsara represent the natural world, the development and the resurrection. The wood bottom base with the ceramic potrayed the yin and yang and the five elements of the world.
BIEAF2025 Invited Artist
Thuy Tien Pham
Viet Nam
Pham Thuy Tien is a painter and visual artist living and working in Hanoi, Vietnam. She graduated with a BA and MA in Fine Arts from the Vietnam University of Fine Arts. She has had many exhibitions in Vietnam and internationally, winning many prestigious awards. Her artistic practice focuses on exploring Vietnamese culture in a changing context, where tradition and foreign elements intersect. Through her paintings, she expresses metaphors and contrasts through landscapes, events, objects and spaces. Inspired by observations of personal and social life, she expresses emotions, memories and inner movements through a variety of materials such as oil paint, lacquer, silk, watercolor, ceramics and multimedia installations. Her art dialogues with viewers, connecting personal memories with contemporary cultural changes. Her visual language is often dreamy, romantic and rough - reflecting the collision between cultures and borderless spaces.
In an era where all central values seem to be eroding – from nature,
community to individual identity – BIEAF 2025 with the theme The Lost Center appears as a powerful and poetic reminder. The fair is not only a space for displaying art but also a place where ecological voices are heard through images, materials, silence and haunting.
It is special that art – something that seems fragile – is placed at the center of the dialogue about the global environmental crisis. It makes us stop, listen and ask ourselves: what have we lost? And can art be a compass to help us find the “center” – where people are connected to the world in a more complete and kind way?
The fair is like a precious pause in the chaotic flow of the times.
Rhythm of Dewdrops
Oil painting/ 42x52cm/ 2025
In this abstract painting, the artist uses the rhythm of color and brushstrokes to evoke the fragile, fresh and lively feeling of morning dew drops. The blue, green and white patches intertwine, moving in gentle swirls like the breath of nature at dawn. The cobalt blue dots are like small traces of water still remaining on the leaves, while the yellow brushstrokes are like the first rays of sunlight peeking through the mist. Each line is soft but free, “Rhythm of Dew Drops” does not depict reality, but opens up the space of emotions and memories – a quiet morning, where people communicate with nature through the most subtle vibrations. This is a painting about life in the moment, about the beauty of the fleeting – but that is why it becomes eternal in the viewer's mind.
BIEAF2025 Invited Artist
Tiarma Dame Ruth Sirait
INDONESIA
Tiarma Sirait is a contemporary Indonesian artist known for her bold fusion of art, fashion, and design. Her signature work combines fashion & textile art with social commentary, often exploring themes of gender, identity, and urban life. A graduate of the Bandung Institute of Technology, Royal Melbourne Institute of Technology – Australia & the University of Borås - Sweden, she has exhibited widely across Asia, Europe, and the Americas. Tiarma’s avant-garde approach challenges conventions, using vivid colours and experimental forms to engage viewers. Her works transcend boundaries, positioning her as a pioneer of wearable art in Southeast Asia. Beyond exhibitions, she is also active in steering committee and cultural exchange projects, promoting Indonesian contemporary art on the global stage. Tiarma lives and works in Bandung, Indonesia.
My artwork blends painting, performance, textile, and fashion art to challenge conventions and spark deeper thought — exploring themes of identity, gender, and urban life through bold colours and provocative forms.
I'm honoured to be part of BIEAF 2025, themed “The Lost Center,” where artists worldwide reflect on humanity, nature, and our urgent environmental challenges.
Let’s connect through art that speaks beyond borders.
Janji > Promise
Charcoal on Canvas / 140x140cm / 2010
In a world where silence has become a survival tactic, JANJI confronts us with the raw aftermath of broken promises. A solitary figure stares out, eyes shielded by distorted goggles, reflecting fragments of a fractured world. Blood trickles from unseen wounds. A bandage seals the mouth — a metaphor for silenced truth, censored grief, and voices long ignored. The hoodie draped over the figure’s head becomes a veil of withdrawal, of retreat from a reality too heavy to bear. Behind them, a backdrop of disjointed, collapsing patterns mirrors the unraveling of social, environmental, and emotional equilibrium. JANJI — meaning "promise" in Indonesian — is not a gentle reminder but a haunting confrontation. It questions: What happens when our promises to nature, to each other, and to future generations are broken? This work captures the moment after the rupture — the stillness that follows the shattering. It is a portrait of collective trauma, a visual requiem for a world that forgot its center: compassion, responsibility, and truth. And yet, within this aching silence lies a possibility — that we might remember, reclaim, and restore what was lost. "JANJI" is a silent cry, a warning, and a hope — that art might carry the weight of our promises when words can no longer speak.
BIEAF2025 Invited Artist
Tibor Jaeger
Sweden
I live and work in Stockholm. I'm a graphic designer, but I also paint. I am member in the Swedish Fine Art Association, Printmaker Association and Association of the Graphic Art in Sweden
The final 3
acrylic on paper/50x70 cm/2023
I am experimenting from a long time with a new technique in painting. Basically I have a photo and then paint on it with paint. Finally, paint a white layer on the finished painting surface. This way the painting has a very exciting texture.
BIEAF2025 Invited Artist
Tobi Olowoniran
Nigeria
Tobi Olowoniran is a multidisciplinary visual artist and cultural expert from Lagos, Nigeria. With several years of professional experience in fine art exhibitions, symposiums, and workshops, he has contributed immensely to cultural management, cross-cultural art education, curatorial practice, visual storytelling, art consultancy, community-based art projects, and contemporary art development. Tobi loves reading books and playing piano. He is motivated by great works of Mozart, Beethoven, Chopin, Handel, and Bach, among others. Among his past exhibitions are: Tzompantli 2024 (Ministry of Foreign Affairs and the Mexican Institute Abroad in Mexico City) - La Peña Art Gallery, 227 Congress Ave, Austin, TX 78701 (USA), from December 7 - 31, 2024. 2022 5th Mail Art "Water", LISINIA Natural Life Village Karakent-Burdur, Turkey(Group) 2022 Expressions Arts, Nonprofit Organization, USA 2022 3rd International Biennale of Photography "Post heroic Time", IAVPOA Gallery 2022 Peace In This Universe.....Stop Conflict "Calligraphy Exhibition", ArtCom Expo, Üreme, Norway(Group) 2022 A Bridge Between Nations And Artists, Creating People's Side Gallery, Hungary 2021 Antas International Online Art Exhibition, Art Ancients Museum, India(Group) 2021 Resistencia, In Flujo Galeria, Mexico(Group) 2021 Raising Awareness About The Marine Litter Pollution, Şükran Yangın Üst Virtual Gallery, Turkey(Virtual) 2021 Nirantar 21 Virtual International Art Exhibition, Nirantar Art Group, India (Virtual) 2021 2nd Virtual Visual Expression, Pagoda Group, Nepal (Virtual) 2021 HOME'21 International Photo Prize Entry, LensCulture, Amsterdam, Netherlands 2021 Without Frontier, Movimiento de Arte Emergente, Mexico (Group)
THE LOST CENTER
The beautifulness and information in art is beyond colors and shapes, it's about what creatives can contribute positively to this world.
Crisis can be tackled through the powers in art.
Reflections
Acrylics on paper/13 × 12 inches/2022
REFLECTIONS This piece depicts how man ponders on life experiences and the situation he finds himself in. In every circumstances, it is imperative that we learn to count our blessings and reflect on what life may bring before us in the future. We live in a world full of several challenges and obstacles, however, one of the best way to summon courage is by reflecting on those good memories. I created this work from an inspiration of colorful stones, a blessing to the environment.
BIEAF2025 Invited Artist
Toma Petronela
Romania
I was born on August 20, 1953, in Giurgiu, Romania. I graduated from the Faculty of Mathematics at the University of Bucharest. I am a retired mathematics teacher, visual artist, and writer. I am a member of the Union of Art Creators and the Society of Romanian Writers. I have held solo painting exhibitions and participated in numerous international group exhibitions in Romania, Bulgaria, Italy, France, Spain, Slovakia, Cyprus, Armenia, and Argentina. Images of my paintings have appeared in numerous art albums.
The final 3
acrylic on paper/50x70 cm/2023
How does this painting reflect the emotional tension of our age? What role does the plant symbol play in conveying its message: Why are the birds dying? The painting raises a poignant cry, echoing the uncertain fate of over 5,000 species of wild birds. These fragile creatures fall ill and perish—some by nature’s hand, but many because of us. Their homes vanish under the weight of deforestation and drained wetlands. They falter in the shifting winds of climate change, under the invisible force of high-energy radiation, deafened by the roar of human noise, and disoriented by the magnetic haze born from our ever-advancing technologies. In this painting, every thorn, whispers both warning and mourning—a symbol of nature’s silent suffering.
Gallery 24
BIEAF2025 - The Lost Center
World Artist Invitation Exhibition
BIEAF Steering Committee announces BIEAF2025 participants. 641 artists were selected from 80 countries. The online exhibition will run from September 10, 2025 to February 28, 2026. During this period, offline exhibitions will be held at various galleries in Busan.
Gallery 01 Artists and Works Slide * You can mark hearts on your favorite artists and works.
BIEAF2025 Invited Artist
Tram Ngo Thanh
Việt Nam
Ngô Thanh Trầm Born in 1985 Ngô Thanh Trầm graduated in 2010 with a degree in Graphic Design from the Hanoi University of Industrial Fine Arts. As an independent artist, she is deeply passionate about themes rooted in Vietnam’s traditional culture as well as environmental issues. Her artistic journey is guided by a belief that art should not only be visually engaging, but also carry social and humanistic value. Through her works, Trầm aims to inspire reflection and evoke positive energy — spreading messages of cultural identity, environmental awareness, and shared responsibility.
Simulated Peace
Ceramic/ 38x49x43/ 2025
A child lies atop a wave, gently whistling — unaware, or perhaps untouched, by the world that surrounds them. Beneath the soft curve of the sea, bottles, caps, and fragments of plastic drift like quiet reminders of what the ocean has become. Simulated Peace captures a paradoxical moment: the fragile innocence of a future generation nestled within the wreckage left behind by the present. Sculpted from chamotte clay, the surface carries a raw, earthy texture — grounding the figure in reality, even as it floats through an environment that is anything but natural. This work speaks to the normalization of environmental decay. The child does not resist or even react — they accept. The sea of waste is not a threat, but a playground. This is the new normal. The peace, though serene in appearance, is fabricated — a stillness built upon indifference, denial, and accumulated neglect. Through this tension, Simulated Peace raises a quiet but urgent question: At what point does the unnatural become normal?
BIEAF2025 Invited Artist
TRAN MANH CUONG
VIET NAM
Artist Tran Cuong (kuolg Trần) was born in 1986, lives and works in Hanoi. Graduated from the 1st course of Central University of Art Pedagogy, Faculty of Fine Arts Pedagogy in 2010, graduated with a master's degree in culture in 2013 from the Academy of Social Sciences. Introduce yourself and share your artistic style For me, practicing art is the process of rediscovering myself. Stories about my inner self, EGO, make me feel the most deeply about myself. I often put myself in a certain context, like a dream, an imaginary space or maybe just a certain perspective of the reality in which I live. Or to put it simply, I draw myself and put myself into the life of the creations I create.
For me, practicing art is the process of rediscovering myself. Stories about my inner self, EGO, make me feel the most deeply about myself. I often put myself in a certain context, like a dream, an imaginary space or maybe just a certain perspective of the reality in which I live. Or to put it simply, I draw myself and put myself into the life of the creations I create.
Love
oil on canvas / 90x180cm / 2022
what's left?
m ix on canvas/ 180x300cm / 2022
BIEAF2025 Invited Artist
Tran Thanh Van
Việt Nam
I graduated from the University of Industrial Fine Arts in 2001. I am a member of the Vietnam Fine Arts Association. Some of my notable and recognizable artworks include: “By the Spring Veranda” (Bên thềm mùa Xuân), “Market Day in Sin Suoi Ho” (Chợ Phiên ở Sin suối hồ), and “Tranquility” (Tĩnh tâm). I have participated in many exhibitions organized by the Vietnam Fine Arts Association. I have also taken part in various group exhibitions such as: “Spring Colors Exhibition,” “Seasonal Shift Exhibition,” “Summer Colors Exhibition,” and others. Additionally, I participated in the exhibition “Beautiful Land of Poland” organized by the Polish Embassy.
lotus stem
lacquer/73x92/2025
"The work Tóc Sen was inspired by the artist’s deep emotions stirred by the beauty of innocent, pure young girls joyfully immersing themselves in the lotus pond every summer. The lotus pond is truly beautiful, with blossoms swaying gently in the breeze. The wind lifts their hair, carrying with it the delicate fragrance of lotus blossoms."
BIEAF2025 Invited Artist
Trần Thị Hội
Việt Nam
Hoi comes to Silk as an ego in herself, both gentle and delicate, with enough vibrations of a teacher who loves cultural history and traditional heritage, and bold and decisively creative of a contemporary visual artist. Following her journey of self-training and developing the art of silk painting and creating installation works on Silk, we find a soul in tune with the concerns of a traditional keeper and spreading a very special love for silk, like a thread connecting the values of the past and the present, the intersection of traditional culture and contemporary art.
Mềm mềm
Tranh lụa/ 80x110cm/2024
MỀM MỀM / Softly
Trần Thị Hội
Watercolor on silk
80x110cm/2024
“Chăn ấm
Đệm êm
Đôi bàn tay mẹ
Mềm mềm
Mát mát
Cho tuổi thơ con
Vuông tròn giấc mơ nhỏ”
"Warm blankets
cozy cushions
I move my hands
softly
cooly
shaping the dreams
of your childhood"
BIEAF2025 Invited Artist
Tran Thi Ngoc Anh
Vietnam
I graduated with a degree in Sculpture from the University of Industrial Fine Arts, class of 1978–1983. It wasn't until 2000 that I participated in my first group exhibition with five fellow artists. Since then, I have taken part in the annual Hanoi Capital Exhibition. I have also participated in the “Vietnam Lacquer Painting” group exhibition, as well as exhibitions in the former Soviet Union, Germany, and France. I was awarded Third Prize at the Hanoi Capital Exhibition in both 2022 and 2023.
Trước cơn giông (Before the storm)
lacquer / 88x108cm / 2021
"When dragonflies fly low, it’ll rain; Fly high, it’s sunny; fly mid, it’s overcast."
As kids, we’d catch dragonflies before storms, letting them bite our belly buttons, believing we’d learn to swim. But all we got were swollen navels and antibiotic shots. That memory stayed with me, and one day, seeing dragonflies before a storm brought it all back—becoming the inspiration for this painting.
BIEAF2025 Invited Artist
TRAN THI PHUC
Vietnam
I am Tran Thi Phuc, born in 1964 as a painter - a member of the Vietnam Fine Arts Association, - Member of Hanoi Fine Arts Association - Vietnam Female Art Club Art Club -The Fatherland Construction Club. Coming from a peaceful village in the outskirts of Hanoi, since I was young, I was very passionate about the art of painting. I graduated from the Faculty of painting at the Central University of Art and Education in 1885. After graduating, I participated in teaching art for children at clubs, children's palaces and primary schools. Celested with the painting I teach and learn, draw and constantly cultivate to become a painter with my own style and to be loved by the public. Vietnam inherits the techniques of drawing, how to use colors and layouts from seniors. However, I also constantly explore and be creative to create a unique style, suitable for modern aesthetics. I draw both silk paintings, oil paintings and wood -engraved paintings. I am not afraid to test new techniques, new color schemes and new expressions. I also always update new art trends in the world to enrich my knowledge and experience. My artistic style is a harmonious combination of traditional and modern elements. Every year, I have participated in the 1st Regional Exhibitions of the American Association of Vietnam, TL of the Vietnam Female Artist Club, TL of the National Construction Club and many domestic and foreign groups.
Light: The light in the picture is to describe the morning sunlight shining down the water, creating shimmering and fanciful streaks. The shadow of the islands and the boat creates more depth and vividness for the picture. The use of this light helps viewers feel the fresh and fresh air of the early morning on the bay. Feeling: The picture of "early tomorrow on Ha Long Bay" is not only a work of art, but also a story I want about the lives of the people of the sea. Fishing boats, industrious fishing people, are all portrayed in a realistic and vivid way. The picture has evoked viewers' peaceful, relaxed and proud emotions about the beauty of the homeland. It is also a reminder about the protection and preservation of the country's cultural and natural values. In short, I have shown a picture of the artistic imprint of Vietnamese traditional wood engraving. The
meticulous, decisive lines, creating health and strong for the work. At the
same time, I use the color and layout that also has the influence of modern painting, I want to bring a new and unique look about Ha Long Bay. Overall, the picture is a harmonious combination of tradition and modernity, showing my love and pride for my homeland beauty.
Early tomrorrow on Ha Long
Woodcut, kích thước 40x60cm, 2024
The picture of the color engraved with the "early tomorrow on Ha Long Bay" I composed in 2022 showed the peaceful and seductive beauty of Ha Long Bay in the early morning. This is one of the beautiful scenes of the natural wonders of Vietnam, Colors: The picture I use a gentle, bright palette. The blue color of the sea and the sky occupies the majority of the area, creating a large and peaceful feeling. The different shades of blue I have tried to use so that it is subtly flexible and has described the depth and movement of water. The brown and yellow color of the boats and roofs creates warm accents, highlighting the lives of local people. The combination of bright and warm colors creates a harmonious and pleasant overall for the viewer's eyes. Layout: The layout of the picture I arranged in a balanced and harmonious way. The majestic limestone islands are placed in the distance, creating an impressive backdrop. The small fishing boats are arranged in the foreground, creating a sense of closeness and vividness. This arrangement creates a three -dimensional space, helping viewers feel the vast and deepness of the bay.
BIEAF2025 Invited Artist
Trang Thanh Hien
Viet Nam
1997 Graduated from Vietnam University of Fine Arts 2002 Master of Folklore Research Institute 2012 PhD from Academy of Social Sciences 2017 Associate Professor 2025 15th Asia Art Alliance Exhibition in Taoyuan | Art Vogue D'Nation - Taiwan 2024 Exhibition “Stream”, Vietnam Fine Arts Museum, Hanoi 2024 Exhibition “Echoes from the Nguyen Dynasty’s Nine Urns to Contemporary Creativity”, Temple of Literature – Quoc Tu Giam, Hanoi 2024 Hanoi Art Connection 7, Hanoi University of Industrial Fine Arts, Hanoi 2023 Solo exhibition “Reflection”, Vietnam University of Fine Arts, Hanoi 2023 International exhibition Hanoi Miniprint, Vietnam University of Fine Arts, Hanoi 2022 Exhibition “Season in the Garden”, Vietnam University of Fine Arts, Hanoi
Buddhist philosophy has long served as an inexhaustible wellspring of inspiration for me. My academic foundation lies in the study of traditional art, with a particular emphasis on Buddhist visual culture. Consequently, themes
such as Zen, enlightenment, and spiritual awakening recur throughout my creative practice. Each painting functions as a form of personal contemplation —an introspective response to the meditative stillness evoked by Zen koans— through which mind, body, and consciousness may evolve in their richest capacity. Samadhi Fire is a diptych inspired by the flame, a potent symbol in Buddhist iconography—representing wisdom and purification. It traverses the domains of mind and body in the pursuit of one-pointed concentration, or ekāgratā, as articulated in meditative traditions.
Shamadhi fire 1-2
Ink on do paper 120x70cm, 2024
BIEAF2025 Invited Artist
Trina Batchelor
NEW Zealand
Trina Batchelor has been exhibited worldwide, has been a part of many art projects, and is represented in newspapers and art magazines from group exhibitions. And also Trophy. Trina Batchelor loves to paint nature and its creatures. Nature is a big part of New Zealand life, and she is very inspired by it. Nature is most important for our center of future.
Just Beauty
Painting pen on paper A4 2025
This painting was inspired by the most beautiful flower. The color is representative of passion, love, luck, and the center of the future.
Untitled
Painting pen on paper A4 2025
This painting is inspired by my favorite wildflowers. Many colors of them are representative of passion, love, luck, and the center of the future.
BIEAF2025 Invited Artist
Trine Berg Larsen
Norway
I am very happy to be invited to participate in the BIEAF2025. It is my first time. I think this is a wonderful initiative to try to make the world a better place for all living species and using art to do so. I have bee drawing and painting in long periodes my hole life. For shorter periodes through the years I have been attending 3 different Art shools. The last 2 years I have been attending Ekely Art school full time. I have had some exhibitiones and I show my art in Saatchi Art online Gallery.
"Light in the fog" "Moonlight" and "The touch"
Canvases. Light in the fog-90x70x2cm- 2023.
Moonlight 53x65x2cm. The touch - 70x90x2cm
The blue and the grey paintings are of nature. I love nature in all forms and it is
our responsibility to take care of it. Our existens relay on it. But the developement goes in the wrong direction. We polute the water, the air and the earth on which we depend. So we have to take a grip, before its too late.
BIEAF2025 Invited Artist
TRINH HOAI THU
Vietnam
BA in Graphic Design, University of Industrial Fine Arts; BA in Chinese, University of Foreign Languages; Lacquer art training in Japan. Memberships: Vietnam Fine Arts Associations.
THE CELESTIAL REALM
Lacquer/61cmx123cm/2025
“THE CELESTIAL REALM” is a traditional lacquer painting that portrays the ocean and fragile marine lives striving to survive amid human-induced pollution. Set in a surreal and haunting atmosphere, the work delivers a powerful message: Let us unite to protect the environment — not only for sea creatures but for the future of humanity. It stands as both a visual reminder and a hopeful artistic call for responsibility.
Tell us about BIEAF2025 'The Lost Center - Art in Crisis' :
BIEAF 2025’s theme, “The Lost Center – Art in Crisis”, reflects the current disorientation of contemporary art amid global uncertainty. It raises urgent questions about the role of art when traditional values, identities, and centers of power are shifting or disappearing. This theme resonates with artists worldwide who are navigating crises—whether cultural, ecological, political, or personal. It challenges us to seek new meanings, new balances, and to rediscover a center not based on dominance, but on empathy, dialogue, and transformation.
As a participating artist, I explore these tensions through my work, using traditional Vietnamese materials like lacquer to reflect on loss, memory, and resilience. I see this crisis not only as a breakdown but also as a powerful moment of possibility and renewal.
BIEAF2025 Invited Artist
Urmila Gahnolia
INDIA
Urmila Gahnolia is a visual artist from Jaipur, India. She was born on January 1974 in Jaipur, India. She graduated from Maharani College, University of Rajasthan, Jaipur in the year 1995 as a meritorious student of visual Arts.She did her Master's in Visual Art from Rajasthan University, Jaipur in 1998. In 1998, She passed the National Education Test (NET), Conducted by University Grants Commission, Delhi. Urmila Gahnolia is shaping, building, exploring culture diversity with positive energy and beauty of nature through her contemplation. She's an experimental artist. She has used acrylic oil, soft pastel watercolours as well as henna and coffee as colours. She is currently working in acrylic color. Participate in solo exhibitions in Taiwan as well as many national and international collective and art exhibitions worldwide including the US, Peru, China, Poland, Thailand, Mexico, Malaysia, Norway, Japan, USA, Italy, Iran and South Korea. Urmila Gahnolia is also an Art Cultural Advisor for the Oscar Magazine for Arab and International Arts and Literature culture group, Egypt. June, 2025. She appointed as the Deputy Director of the Oscar Magazine for Arab and International Art in Germany. July 2024. She is one of the admin in Vogue Art Group from 2023. She was honored by Deputy CM Premchand Bairwa in 2024 for his contribution in the field of art and representing India at the international level.
Through his paintings, I have tried to show the conscious of the true decomposed of E West (electronic waste), I have shown the environmental damage caused by improper de-compose of e-waste and environmental protection by decomposing it in the right way.
Throwing waste in the open will increase air pollution and water pollution in the environment, which will have a direct impact on human life. E-waste, such as old mobile phones, computers, and other electronic devices, contains hazardous chemicals that are harmful to the environment and human health. Not managing these wastes properly can pollute soil, water, and air, and cause health problems. Therefore, it is important to recycle and dispose of e-waste properly.
The Gardan Beyond the Gadgets
Acyclic Colour on Canvas, 61 x 91 cm, 2025
BIEAF2025 Invited Artist
Usra Shaikh
Pakistan
Usra Shaikh is Hyderabad based artist ,She joined Khana -e- Farhang for art Practice .She Spent their plenty of time and got expertise in Drawing and Painting . After a year passed she enroled in art college . She has done her Graduation in fine arts From Center of Excellence in arts and Design MUET jamshoro in 2015.She has passed her final with Distinction. She chose Printmaking as her major because of its diversity, has already expertise in Painting so she selected it as minor subject. She participated in various group shows nationally, and also participated internationally Tokyo international mini print triennial in Japan .her work was selected as a permanent collection of museum. Recently she teach in fine art department in SABS university of Art, design and Heritages ,Jamshoro as a contractual faculty. Register to participate in BIEAF2025 Period: From June 15th to July 14th Participation fee: None Field: Painting, Sculpture, Photography, Design, Craft, AI works, etc 1
"Fragments of Memory"I,II,III Material
Mountval paper/21.5x14.5/2024/25
Statement The recurring motif of origami folds, imprinted onto these resurrected surfaces, is deeply personal and resonates with a profound sense of nostalgia. These delicate, geometric forms—born from the simple, meditative act of folding paper—evoke childhood memories, a time of innocent creation, quiet play, and tactile discovery. But beyond their visual simplicity, these forms carry complex symbolism: fragility and resilience, precision and imperfection, collapse and transformation. In my practice, I use waste and discarded paper—studio remnants, misprints, forgotten notes—as the foundation for both form and meaning. This material, often overlooked or destined for the bin, holds invisible histories: traces of past intentions, unfinished gestures, and unseen marks. Through folding, printing, and layering, I breathe new life into this forgotten matter, treating each sheet not as a blank canvas, but as a living archive. Printmaking becomes the means through which these forms are fossilized. The embossment of folds, the textures of layered inks, and the subtle shadows captured on paper all serve to eternalize something once ephemeral. The origami forms are not simply aesthetic choices—they act as vessels of memory, as metaphors for regeneration and conscious transformation. When these shapes are rendered through the collagraph or monoprint process, they echo across the surface like whispers from the past, transforming paper waste into poetic artifacts of sustainable thought. This approach is not only aesthetic but ethical. As an artist working within the contemporary ecological crisis, I see the act of reuse and reinvention as both a necessity and a responsibility. My work is a response to the culture of excess and disposability that pervades even creative spaces. By actively choosing to work with reused paper and recycled materials, I reduce my environmental footprint and challenge the traditional hierarchies of material value in art. Within the broader context of environmental art, my prints stand as quiet, intimate meditations on sustainability, resourcefulness, and the cyclical nature of existence. They resist the spectacle of large-scale environmental gestures, choosing instead to find the monumental in the miniature, the transformative in the humble. The folded form becomes a visual reminder of nature’s own ability to renew, adapt, and evolve—echoing organic processes such as growth, erosion, or metamorphosis. Ultimately, my practice is an invitation to reconsider the materials we discard, the histories we forget, and the creative potential of reimagining waste. It’s a call to embrace conscious creation—where every fold is intentional, every impression is mindful, and every print carries the weight of ethical presence. In bridging the gap between personal memory and collective responsibility, my work seeks to spark a deeper dialogue about how art can serve not just as expression, but as ecological action—quietly shaping a more sustainable, attentive relationship with the world around us.
Tell us about BIEAF2025 'The Lost Center - Art in Crisis' : The recurring motif of origami folds, imprinted onto these resurrected surfaces, is deeply personal and resonates with a profound sense of nostalgia. These delicate, geometric forms—born from the simple, meditative act of folding paper—evoke childhood memories, a time of innocent creation, quiet play, and tactile discovery. But beyond their visual simplicity, these forms carry complex symbolism: fragility and resilience, precision and imperfection, collapse and transformation. In my practice, I use waste and discarded paper—studio remnants, misprints, forgotten notes—as the foundation for both form and meaning. This material, often overlooked or destined for the bin, holds invisible histories: traces of past intentions, unfinished gestures, and unseen marks. Through folding, printing, and layering, I breathe new life into this forgotten matter, treating each sheet not as a blank canvas, but as a living archive. Printmaking becomes the means through which these forms are fossilized. The embossment of folds, the textures of layered inks, and the subtle shadows captured on paper all serve to eternalize something once ephemeral. The origami forms are not simply aesthetic choices—they act as vessels of memory, as metaphors for regeneration and conscious transformation. When these shapes are rendered through the collagraph or monoprint process, they echo across the surface like whispers from the past, transforming paper waste into poetic artifacts of sustainable thought. This approach is not only aesthetic but ethical. As an artist working within the contemporary ecological crisis, I see the act of reuse and reinvention as both a necessity and a responsibility. My work is a response to the culture of excess and disposability that pervades even creative spaces. By actively choosing to work with reused paper and recycled materials, I reduce my environmental footprint and challenge the traditional hierarchies of material value in art. Within the broader context of environmental art, my prints stand as quiet, intimate meditations on sustainability, resourcefulness, and the cyclical nature of existence. They resist the spectacle of large-scale environmental gestures, choosing instead to find the monumental in the miniature, the transformative in the humble. The folded form becomes a visual reminder of nature’s own ability to renew, adapt, and evolve—echoing organic processes such as growth, erosion, or metamorphosis. Ultimately, my practice is an invitation to reconsider the materials we discard, the histories we forget, and the creative potential of reimagining waste. It’s a call to embrace conscious creation—where every fold is intentional, every impression is mindful, and every print carries the weight of ethical presence. In bridging the gap between personal memory and collective responsibility, my work seeks to spark a deeper dialogue about how art can serve not just as expression, but as ecological action—quietly shaping a more sustainable, attentive relationship with the world around us.
BIEAF2025 Invited Artist
Van O
Russia
Van O (Ivan Isaev) was born at 1975 in Moscow, Russia, graduated the biological faculty of the Moscow State University and the School of dramatic art of An. Vasiliev. Art-photographer since 1999, the member of Russian Union of Art Photographers since 2009 and of the Creative Union of Russian Artists since 2015. Works are in the collections of Russian museum of St. Petersburg, Erarta Museum of contemporary art and private collections.
The canned II
Analogue photo. 2012. 60х130 сm
Hermit crabs are already learning to use discarded dishes as a home - it is becoming easier to find them than a free sink. Our crabs have it even easier - there is a lot of material around. Maybe, with time, they will even create their own cargo cult...
BIEAF2025 Invited Artist
Veronica Ugalde Romay
México
“I am Mexican, I am a mixture of cultures that flow within me, every new philosophy, every new concept or culture I adapt with my roots, resulting in the human being I am becoming, we are the result of many influences, our traditions emerge by the adaptation of new concepts with primary. This is how I could describe my way of artistic expression, a philosophical syncretism expressing in a contemporary environment open to the influences I ´m receiving without losing the imprint of my roots.”
the drop
size 1.90 mts X .50 m. 2023 sculpture /cotton thread woven like crochet,
stiffened with natural bone glue, sculpted with air balloons
Sculpture by knitting cotton threads represent the net of the humanity, dropping in the word for better or for worse, like the water can destroy or give life. Reflexión about hoe are we using our energy to preserve or destroy our home planet. Made 2023
BIEAF2025 Invited Artist
Vicente Herrero Heca
España
IN MY PAINTINGS I contemplate seemingly inanimate objects—glass marbles, wrinkled paper, small pebbles, weathered pieces of wood, and other items forming strange portraits that evoke a whole existence, all on a flat background that contrasts with their delicate texture painted in hyperrealistic style. This contrast between a flat surface and other textures is particularly strong when I paint paper or creased material, thus dividing the painting into two completely delimited areas, giving an aesthetic and modern outlook on the meaning of man’s duality, the yin and yang, positive and negative. The sphere or glass marble found in nearly all my paintings represents the nexus that links the elements of the whole work and symbolizes the human being. Each viewer, studying the meaning of these object-symbols in depth, will discover and decipher the message in a personal way, different from the artist’s, therefore transforming the spectator into a creator.
Levitation
Acrilico / 50 x 65 cm 2025
The sphere represents the human being, the wrinkled, striped fabric represents the difficulties and different paths in life. The sphere is fleeing from reality.
Will it succeed?
BIEAF2025 Invited Artist
Vicki Svedrell
Sweden
Vicki Svedrell, was born in 1960, in Malmö, Sweden, and is currently living in Ystad, a town on the southcoast of Sweden. Vicki started painting as a child, and has begun painting again as an adult, (after an interval, caused by a stroke, that made her partially visually impaired), whereupon she has been studying for several various Swedish artists, like e g Rikard Vakil, an artist that has created some of the diplomas for the Nobel Prize, as well as Emma Karp Lundström, who is a famous Swedish painter, known for her large scale outdoor paintings made of various fruits, like e g apples, at Kivik, a village on the southeast of Sweden. Vicki Svedrell is a member of The Swedish Artists' Organization, The Visually Impaired Artists' and Artisans’ Organization, as well as The Nordic Watercolour Society. Her works have been exhibited throughout Sweden, Spain, USA, Italy, France, Netherlands, Austria, Switzerland, Greece, United Kingdom, Canada, South Korea, Egypt and South Africa. Art Gallery Maria Thorlund, Lund, Sweden 2018 Art Gallery Hultman, Åstorp, Sweden 2019 Art Gallery Stenhallen, Borgholm, Sweden 2020 Nordic Watercolour Society Digital Exhibition 2021 FIAB CN FIRA Internacional d'Art de Barcelona Museu Maritim de Barcelona 2022 World Wide Art & Artavita Pavilion at Art San Diego San Diego Convention Center Art SD 2022 Red Dot Spectrum Miami Art Fair with Artavita World Wide Art Pavilion 2022 “Beyond Utopia: Visions of a Perfect World” Contemporary Art Collectors Digital Exhibition 2023 “100 female artists of the world” Vision Art Media & New York Media Network, USA 2023 International Art Exhibition, Montecosaro, Centro d’Arte e Cultura, VERUM, Italy 2023 “My Style - Show Your Talent” International Artwork in Digital Exhibition 2023 Arte Venezia Contemporary Art Exhibition, Scuola Grande San Teodoro, San Marco, Venezia, Centro d’Arte e Cultura VERUM, Italy 2023 SKKF Exhibition in Husby Konsthall & Art Gallery, Art Society of Husby, Sweden 2023 “Parallel worlds” Contemporary Art Collectors Digital Exhibition 2023 Arte Milano Contemporary Art Exhibition, iKonica Art Gallery, Milan, Centro d’Arte e Cultura VERUM, Italy 2023 Superfine Art Fair, San Francisco, Teravarna Art Gallery, USA 2023 “Happy Holidays” International Artwork in Digital Exhibition 2023 Miami Red Dot Art Fair, Circle Art, USA 2023 “Lux et Admiratio” International Art Exhibition, Pocket Art Studio Gallery, Rome, Association Sei l’Arte, Italy 2023 Arte Firenze Contemporary Art Exhibition, Museo Galleria Bellini, Firenze, Centro d’Arte e Cultura, VERUM, Italy 2023 “Change to Eco” BIEAF, Busan, Korea 2024 Video Display Exhibition at Art Expo New York, Circle Art, USA 2024 Arte Roma, La Pigna Gallery, Rome, Centro d’Arte e Cultura, VERUM, Italy 2024 Golling castle, Centro d’Arte e Cultura, VERUM Austria 2024 Arte Venezia, Centro d’Arte e Cultura, VERUM Italy 2024 Rossocinabro Gallery, Rome, Italy 2024 Hyperion Hotel Messe Basel, Art Screen TV, Switzerland 2024 Palazzo da Mula Murano, Paveri Fontana, Venezia 2024 Premio Cittá di Montecosaro, Centro d’Arte e Cultura, VERUM Italy 2024 The Holy Art Gallery, London, United Kingdom 2024 The Holy Art Gallery, Amsterdam, Netherlands, 2024 The Holy Art Gallery, Paris, France, 2024 The Holy Art Gallery, Athens, Greece, 2024 Firenze Contemporary 4, Rossocinabro Gallery, Italy, 2024 Galleria Tilde, Palermo,Italy 2024 The Holy Art Gallery, Toronto, Canada, 2024 Vision Art Media’s 2024 Art Competition, New York, USA 2025 The Sun Boat Exhibition, Minya, Egypt 2025 National Arts Festival, South Africa 2025 Awards: Premio Citta di Montecosaro, Diploma di merita; Premio Speciale della Giuria 2023 Premio di Rappresentazione Regione Marche 2024 Vicki Svedrell's art is held in private collections and art associations through Sweden.
Horizon of hope
The light of hope caresses the horizon after a long night of dread, darkness and despair.
Island of sanctuary
A safe place where peace reigns, where you can go for a retreat from all the worries of the world.
BIEAF2025 Invited Artist
Vicky Gasper
Philippines
Vicky Gasper is a self-taught artist who enjoys most of her time in nature, capturing its unfolding beauty on her canvas. Her every piece is an invitation to a wonderful reconnection with Mother Nature.
As a landscape artist, my passion is to capture the breathtaking beauty of nature. However, the modern world has brought significant changes to our landscapes, with mountains being stripped bare and rivers drying up. I believe it is my artistic duty to preserve the natural beauty of these landscapes on canvas, serving as a testament to their former glory and a reminder of what we’ve lost. Through my art, I hope to inspire appreciation and conservation of our planet’s precious natural heritage.
The Calling
Oil , 22x34 , 2020
BIEAF2025 Invited Artist
Victor Hugo Vidal Barrios
Colombia
Victor Hugo Vidal Barrios artista plástico de Ciénaga Magdalena Colombia,
pinto multicolor, ecológico y Caribe.
Es una obra que simboliza a Colombia ecológica bañándose en sus dos
océanos entre peces y corales, amenazados por la contaminación mundial.
Diosa de Nácar
Óleo sobre lienzo/60 cms de alto x 80 cms de ancho/2017
BIEAF2025 Invited Artist
Victor Oyedele
Nigeria
Victor Oyedele is a dynamic and versatile creative, born in Benue State in 2003 and currently based in Lagos, Nigeria. With a passion for art ignited at a young age, he has evolved into a multifaceted visual artist, art educator, makeup artist, and nail technician, showcasing his diverse talents across various artistic disciplines. His art is not confined to a single medium or style; instead, it thrives on experimentation with the use of different materials ranging from the richness of mixed media. Each of his piece is a narrative, meticulously woven from the threads of his culture, tradition, imagination, personal experiences, and a profound connection with the environment around him. He attended Osun State College of Technology (OSCOTECH), where he earned his National Diploma in Fine Art, graduating with an Upper Credit distinction. Victor has exhibited extensively including major virtual and physical exhibitions at (Ma'am group,Indian , 2024) , (La Maison D'art, Pakistan, 2024), (yoruba gallery, Nigeria, 2024) ,(Vivid exclusive gallery, Nigeria, 2024),(Manikarnika art gallery, India,2024) ,(Pancha rothi, India,2024) , (D.A.C.A Dexterity art and culture academy, India, 2024), (Talentila foundation, India, 2025), (Manikarnika art gallery, India, 2025), (Pancha Rothi, India, 2025), (wings Artist virtual international exhibition, India, 2025), (Ma'am group virtual international exhibition, India, 2025), (World art media magazine, India, 2025), (Pancha rothi, India, 2025), and (Magical hands competition Nigeria, 2024) where he was among the semi-finalist.
BIEAF2025 'The Lost Center - Art in Crisis' :
The Lost Center represents the unpredictable nature of life, highlighting the crises, tribulations, and disasters that affect us all. It encompasses the struggles of hardship, the devastation of war, and the instability that threatens peace. This concept also explores the fragility of our environment, where natural disasters like flooding and earthquakes can strike without warning, causing destruction and chaos. The Lost Center is a poignant reminder of the uncertainties we face, urging us to acknowledge and prepare for the unexpected challenges that life throws our way.
Life Adversity
Acrylic on canvas/20x25inches/2023
"Life Adversity" is a piece that captures the universal human experience of struggle and resilience in the face of hardship. The central figure, a somber-faced man, embodies the weight of responsibility and the daily grind to provide for loved ones. The scattered currency notes symbolize the elusive nature of financial stability, a challenge many face globally, and while the logo of oil on the side of the painting is a nod to scarcity of resources. It's a commentry of hardship faced by individuals during petroleum scarcity,where basic necessities become luxuries. The contrasting red and yellow hues in the background represent the agony and pain of hardship, yet also the glimmer of hope that sustains us. The red signifies the danger and desperation that can accompany struggle, while the yellow represents the light at the end of the tunnel. This artwork is a reflection of the human condition, where individuals face countless challenges in their pursuit of a better life. Despite scarcity and adversity, hope and determination can guide us forward. Through 'Life Adversity,' I invite you to reflect on the universal human experience and the power of resilience in the face of hardship. This artwork is a testament to the strength of the human spirit and our capacity to persevere, even in the darkest moments.
BIEAF2025 Invited Artist
Victoria Eugenia Torres Barona
Colombia
Visual Artist Vicky Barona is a visual artist who studied Fine Arts in Cali, Colombia. She has a 25-year career in art and has received several national and international awards. Her most notable achievements include serving as a QIAF brand ambassador for three years and the artistic face of the Nissan Murano. Vicky Barona's artistic development is rooted in a childhood steeped in creativity and tradition, as the only child of a married couple of artists. Her father, Alfonso Torres Isaza, a prominent jeweler and goldsmith, worked with precious metals such as gold and silver, utilizing filigree techniques, hammering, and setting precious and semiprecious stones. Her mother, Adelaida Barona Chávez, channeled her legacy of religious art into macramé and painting on experimental canvases. This atmosphere of constant creativity provided the perfect setting for Vicky Barona to discover her profound inclination for the arts from an early age. Throughout her education, she attended primary and secondary school in schools in Cali, standing out for her artistic sensitivity and skill. Later, she decided to enroll in Fine Arts, consolidating her knowledge and technique to complement what she had already begun self-taught as a child. With a career marked by a love of tradition and innovation, Vicky Barona has evolved toward a holistic artistic expression. Her work not only reflects the influences of her childhood, but also a deep commitment to contemporary issues such as climate change, biodiversity, and the connection between art and society. She has been recognized nationally and internationally with 11 notable awards, including the Sonia Monti Prize in Paris and the Gaviota Award for Excellence in Mexico. She is the creator of emblematic projects such as BIODIVERSA ART and the Pacific Children's Art Festival, establishing herself as a cultural ambassador in global spaces. Currently, she develops works and projects that intertwine conceptual narrative, visual art, and her family legacy, bringing her vision to new generations. Holistic Visual Artist and Planetary Visionary Vicky Barona takes abstract art to an unprecedented level of planetary consciousness. Her profound connection with Gaia, our planet, has led her to immerse herself in the most fascinating extremes of the Earth: icy paradises, magma abysses, and vibrant ecosystems where biodiversity manifests itself with unparalleled power. These experiences have nourished her artistic vision, allowing her to recreate a changing world that, through her work, is revealed as placid, fierce, and at times hostile, constantly challenging the limits of the human imagination.
ETERNITY
Canvas Acrylic Oil/140 cm x 100 cm / 2024
ETERNITY portrays the different states of the Earth. It belongs to the
Ferocious Planet collection, which highlights the natural and induced
transformations our planet undergoes. Its vibrant and exciting colors evoke
the beauty of Earth's landscapes.
BIEAF2025 Invited Artist
Victoria Valuk
Belarus
Victoria Valuk is a contemporary Eastern European artist, specialises in oil painting mainly. With over 100 group exhibitions and some solo, she started her innovative project in 2021 which is called the art-tour-show "Artifact". This unique series features her original small oil paintings on canvas, sealed in bottles and released into Seas or left on land in diffenrent countries, and finders may keep them. And you might find the one too!
"I believe the Busan International Environmental Art Festival with the theme "The Lost Center - Art in Crisis" is an extraordinarily important event with a profound humanitarian mission.
The festival's theme, “The Lost Center - Art in Crisis”, resonates deeply with the current global context, where we are facing new challenges. BIEAF2025 provides a vital platform for artists from around the world to converge, share their perspectives, and collectively explore how art can address these pressing issues. By bringing together artistic voices the festival can unite artists and foster a rich, multifaceted dialogue with viewers. It challenges us to reconsider our relationships with nature, each other, and the world at large. I am genuinely grateful to the organizers for this platform. It’s a amazing chance for us artists to connect, learn from each other, and inspire people", - artist Victoria Valuk.
"Belarusian Polesie"
oil on orgalit, 100x50 cm, 2024
"Belarusian Polesie" is an original oil painting by artist Victoria Valuk. Polesie is a beautiful region in Belarus. The artist was using green and soft brown oil tones to capture her childhood memories of this beloved region. Polesie holds a special place in her heart, where she spent much of her childhood. The abstract representation and colour palette reflect her nostalgic, emotional recollection, emphasising the serene and timeless beauty of the land she remembers.
BIEAF2025 Invited Artist
Viktoria Monakhova
Spain
How to paint the world?
30x40, acrylic , canvas
BIEAF2025 Invited Artist
Viviana Kurelak
Argentina
Meet Vivi Kurelak, an artist from Chaco. Her work blends abstract elements with the rich Litoral culture, creating vibrant, energetic pieces that invite reflection.
Returning to the North of My Being
Photography, Paper/35x40/ 2025
Returning to the North of My Being" The artwork "Returning to the North of My Being" is a profound exploration of coming back to one's roots and personal essence. Through vibrant colors and organic forms, the piece evokes an introspective journey towards authenticity. It represents the search for that inner "north" that guides us, a place of peace and belonging. It's a reminder of the importance of connecting with what defines and nourishes us.
BIEAF2025 Invited Artist
Vlasta Črčinovič Krofič
Slovenia
Dr. Vlasta Črčinovič Krofič I’m Master of fine arts. I prefer using acrylics and mix. technique on canvas. I set up 7 solo art exhibitions and participaited in many local and international art exhibitions. Since 2021 I'm a memebr of the Art Nigde and since 23th January 2023 I am a full-time member of the FIAG Art Group. My paintings adorn public spaces.
In all periods, doubts about 'true' art have arisen and still arise. New ideas, new
approaches, new forms of expression are like high waves on a turbulent ocean.
What will remain in the context of history will be shown by time.
A Path to the Goal
mix media, acrylic and sand70 x 50 cm
Path to the Goal reflects our efforts to overcome obstacles for a better tomorrow. Madonna is a determined woman. Her blue cloak represents isdom, the endless blue of the sky, water, and trust. She wrapped a newborn in the cloak. Both are surrounded by a golden aura that signifies spiritual wealth. Throughout life, Madonna walks bravely, with a firm step through a corridor of figures depicted with clear lines and angles, colored in shades of red and purple, that illustrated a path sprinkled with obstacles that are overcome by love, strong will, and a clear goal: to ensure the cycle of life.
