Art Hall - B1
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Gallery 09
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
Hee Jean Beon
Korea
It is an honor to participate in the 2025 exhibition alongside many outstanding artists from around the world. I look forward to experiencing their works and gaining wonderful inspiration through this shared artistic journey.
Associate Professor, Department of Industrial Design, Shinhan University, Uijeongbu, South Korea Ph.D. in Techno Design, Graduate School of Techno Design, Kookmin University, South Korea M.A. in Fashion Footwear, University of the Arts London, United Kingdom B.A. in Visual Communication Design, Kookmin University, South Korea
Fragmented Heart
AI A3 2025
This shoe design features asymmetrically arranged petals, sharply fractured lines, and particles of light drifting without a center. The heart of the flower, once the core of balance, is now either vanished or remains as a faint ember of light. Yet, these pieces do not represent an end, but rather a process of reassembly. The absence of a center allows for new perspectives and forms to emerge, challenging the conventional definitions of beauty. 'Fragmented Heart' is an emotional exploration of inner cracks, emotional shards, and fragments of memory—each still capable of becoming something aesthetic. It is a new order born from brokenness, a truth visible only after collapse. This piece suggests that imperfection can be just as expressive, perhaps even more so, than flawless beauty.
BIEAF2025 Invited Artist
JIN -HEE JEONG
Korea
I work in Busan, Korea, and I participated in the group exhibition of the art festival in Paris, Japan, China.
The title of the picture is"Breath". "Breath" expresses the moment of deep rest and healing in the natural arms through the figure curled up in the petals. Flowers are symbols of vitality and circulation, indicating that humans and nature are connected. It contains comfort like a breath from nature in a busy daily life.
Breath
Oil on Canvas / 72.7x53.0cm / 2025
BIEAF2025 Invited Artist
Helena Fung
Hong Kong SAR
When hydrangeas embrace the roses and initiated the beautiful flower dance!
Born in Hong Kong, interested in painting since childhood. Devoted in watercolour painting. Her paintings have been exhibited in over 10 countries in Europe and Asia. Had won excellence award in Russia and France. Received diploma in western fine arts education.
Flower Dance
Watercolour/61cm(H)x91cm(W)/2025
BIEAF2025 Invited Artist
Helga Berg Dooremans
Germany
Art is a language beyond words and therefore a particularly powerful tool for pointing out grievances and initiaging change. Art should therefore speak out where language fails and be allowed to make its voice heard, especially in public spaces. The connection between humanity and nature, the cycle of existence of all life on Earth, has been lost in many areas of the so-called civilized world. It must be restored to enable future generations to live a worthwhile existence in harmony with nature. Initiatives like BIEAF enable
artists to contribute.
Born in Kleve, Lower Rhine. 2015 - 2017 Training in plain air drawing using old master techniques with Reiner Langer Dinslaken, painter, illustrator and photographer. Since 2008 working on sustainability in the field of vocational training as well as arts Member of Rhein-Sieg-Kreis Art Association, Bonn Art Association, artist group Narrative Movements India. Various exhibitions at home and abroad.
Man is Nature
Pastel chalk on wood panel/50x65cm/2018
The mainly wooden paintings focus on the integration of the surface into thecreative process. Inspired by pareidolia, the motifs are developed in a surrealway from the wood structure. Coloring with soft pastels emphasizes the woodgrain and lends it expression and artistic meaning. The portfolio also includesworks in watercolor, ink pen, oil etc. The reference to sustainability - thetension between humanity and nature - is a recurring theme in motifs andmaterial used. E.g. thus, worthless scrap wood is upcycled and transformedinto unique art pieces.
BIEAF2025 Invited Artist
Hemaz hocine
ALGERIA
This painting captures the serene beauty of Kabylie, a mountainous region in northern Algeria known for its breathtaking nature and rich cultural heritage. Through warm earth tones and vibrant greens, the landscape reflects the harmony between the rugged mountains, olive trees, and traditional Berber villages nestled in the hills. The scene invites the viewer into a moment of stillness and connection with the land — a tribute to Kabylie's timeless spirit and its people’s deep bond with nature.
Kabylie Landscape feeling best air
50x50
BIEAF2025 Invited Artist
Hengameh Hemmati
Iran
The central part features a prominently embossed hand and bow. In the background, higher powers watch from above, symbolizing oversight. Below, scenes of human conflicts and wars are depicted. The artwork maintains a spiritual atmosphere. Inspired by the Iranian epic from Shahnameh called Arash the Archer. The sun circle around the piece represents bright days and hope.
I am an artist with 20 years of experience in painting, sculpture, mural work, and modern plaster art. For the past 10 years, I have been teaching art. I develop my own concepts and designs, and learned sculpture through self-study. I have exhibited in group shows and received awards.
Arash the archer
Acrylic/Putty Powder diameter of 33cm 2025
BIEAF2025 Invited Artist
Herman Wong Seng Yin
Malaysia
Herman Wong is a Malaysian artist known for his poetic use of watercolor and mixed media to capture nature’s fleeting beauty. A graduate in Commercial Art, he transforms delicate moments into lasting visual stories. As President of the Malaysia Perak Art Society and Secretary of the Contemporary Malaysian Watercolourists Association, he actively promotes artistic exchange and community growth through regional and international platforms. Herman’s works have been exhibited widely in Malaysia and abroad, earning recognition and awards. Through his art, he invites viewers to pause, reflect, and feel the quiet emotion within. “Let every stroke speak from the soul, and let every painting breathe life into silence.”
Ascend of light 1&2
Painting 2025
Ascend of Light is an abstract reflection of the inner spirit’s rise and the silent force of hope. Through vertical motion and intersecting rays of light, the work symbolizes a soul breaking through constraints and ascending toward clarity and freedom. It is not a depiction of the physical world, but a transformation of emotional and spiritual states. Using acrylics, natural fibers, and torn fabric, I allow the materials themselves to speak—layered, distressed, and reformed. The gradual shift from darkness to light mirrors a personal journey from doubt to awakening. This is not only a tribute to natural light, but also to inner conviction and the quiet resilience of the human will. Ascend of Light continues my exploration of dualities: fragility and strength, despair and hope. I invite the viewer to stand before the work and feel that upward pull—a soft but unwavering ascent, where light becomes not just seen, but deeply felt.
BIEAF2025 Invited Artist
Hifza Khan
Pakistan
In a world marked by environmental collapse, cultural erosion, and existential uncertainty, The Lost Center – Art in Crisis invites artists to reflect on what anchors us amid chaos. It explores the fragile balance between nature and human ambition, tradition and modernity, wholeness and fragmentation. Through this theme, we question how art can respond to crisis—not only as a witness to loss but as a force for renewal. Artists are called to reclaim spaces
of meaning, connection, and resilience, offering pathways to rediscover the “center” within ourselves and the world around us.
Hifza Khan (b. 1994) is a visual artist based in Lahore, Pakistan. She holds a BFA (2018) and an MPhil in Studio Practice (2023) from the College of Art and Design, University of the Punjab, Lahore. Khan’s work has been exhibited widely, both locally and internationally. Her international exhibitions include the Busan International Environmental Art Festival (South Korea, 2024–2025), the International Turkish Culture and Arts Promotion Workshop and Symposium (2024), and online collaborations with Iranian platforms such as the Palette Art Gallery + Art Bethak (Pakistan/Iran). She has also participated in international e-exhibitions across Europe and Asia. Her work has been featured in leading art spaces in Pakistan, including Alhamra Arts Council, Ejaz Art Gallery, Ana Molka Award Exhibitions, Artscene Gallery, Artcade, O Art Space, and several other prominent group shows in Lahore, Karachi, and Islamabad. Khan’s oil-based practice revolves around hyper-realistic depictions of human figures, blending meticulous detail with conceptual depth. Her work often explores themes of social realism, fragility, and isolation, inviting viewers into an atmosphere infused with mystery and reflection.
The Rose and the Ruins
Oil on Canvas/36inx48inc/2024
“The Rose and the Ruins” draws upon the rich and intricate legacy of Mughal art to explore the tensions between beauty and decay, connection and isolation, heritage and fragility. It is a meditation on the delicate balance between what has been lost and what endures, between grandeur that once flourished and the quiet vulnerability of the present. At the center of the composition is a solitary figure, poised within a window framed by ornate architectural elements, holding a single rose. The rose itself becomes a potent symbol—its soft petals echo nature’s perfection and its fragrance, the fleeting sweetness of life. Yet, in her hands, the rose also becomes a fragile reminder of all that is under threat in our contemporary world: ecosystems collapsing, cultural legacies eroding, and an increasing sense of existential dislocation. The architectural setting surrounding the figure evokes the opulence of Mughal design—symmetry, intricate patterns, and a reverence for nature that once shaped an artistic and cultural golden age. But in “The Rose and the Ruins”, this grandeur carries an undertone of melancholy. The delicate carvings and arches appear like fading memories, whispering stories of a world that is slowly disintegrating under the weight of modern chaos. The space feels protective yet confining, magnificent yet fragile—a metaphor for the contradictions of our times. The woman within this space inhabits a duality: she reflects the isolation and disconnection of modern existence but also carries the potential for quiet resilience. Her stillness, her inward gaze, suggests a meditation on fragility— not only of life and nature, but of cultural identity and memory. In her hands, the rose becomes more than a flower; it is a beacon of hope, the possibility of renewal, and an invitation to contemplate what remains precious amid the ruins. This painting is both a tribute and a lamentation: a tribute to the richness of a cultural heritage where art and architecture intertwined harmoniously with nature, and a lament for the dissonance of our present moment. It asks the viewer to pause and consider: What are we losing in the name of progress? What fragments of beauty and meaning might we still preserve and nurture? Through “The Rose and the Ruins”, I reflect on how art can become a bridge between what is crumbling and what might yet be revived. Just as the intricate forms of Mughal art emerged from eras of turbulence and transformation, so too can art today provide a space for reflection, healing, and renewal. In moments of crisis, art offers not only consolation but also a path to reclaiming balance, connection, and wholeness. “The Rose and the Ruins” captures this delicate tension—the coexistence of beauty and destruction, stillness and chaos, memory and forgetting. It speaks to both the fragility of our world and the enduring power of art to guide us through uncertainty and toward a more meaningful future.
BIEAF2025 Invited Artist
Hilda Márquez Barradas
Mexico
Hilda Márquez, born on November 21, 1966, in Mexico City, is a renowned Mexican painter recognized for her vibrant murals and richly textured artworks. Daughter of acclaimed artist Piedad Barradas, Hilda began painting at the age of eight and was mentored by her mother as well as by established artists such as Mario Watanabe and Filipe Pereira. Her artistic style is distinguished by the use of oil, acrylics, gold leaf, and relief, combining vivid colors with symbolic elements. Drawing inspiration from Frida Kahlo, Van Gogh, and Salvador Dalí, Márquez creates works that evoke abundance, joy, and emotional depth. Many of her paintings include hidden messages or words inspired by feng shui, intended to bring harmony and prosperity to the spaces they inhabit. One of her most iconic pieces is the four-meter-tall mural “La Frida Jarocha”, displayed at the Centro Cultural Veracruzano. Her art has been featured in exhibitions in Mexico and abroad, and her works can be found in venues such as Caesars Palace in Las Vegas. She has also created commissioned pieces for cultural figures like actress Yalitza Aparicio and producer Gerardo Quiroz. Hilda Márquez is not only an artist but also an educator. She has taught courses in painting and porcelain techniques, sharing her knowledge across different generations and countries. She embraces technology in her creative process, using digital tools to visualize and design her murals before painting them. Márquez sees painting not as a job but as a calling—an act of passion and purpose. Through her work, she celebrates Mexican culture, femininity, and inner strength, offering each viewer a visual experience meant to inspire and uplift. Her art is, in essence, a celebration of life through color, form, and spirit.
Korea unites art
Mix media / 90 x 110 cm/ 2025
Hilda Márquez is a Mexican visual artist known for her bold, colorful paintings and large-format murals that fuse emotion, symbolism, and cultural identity. Rooted in a deep appreciation for Mexican traditions and spirituality, her work often incorporates vivid palettes, gold leaf, relief textures, and symbolic elements inspired by feng shui, designed to evoke harmony, abundance, and emotional connection. Her art balances expressive technique with intuitive composition, often blending abstract and figurative elements. Márquez creates visual narratives that celebrate femininity, inner strength, and joy, while also inviting reflection through embedded words and hidden messages. Her pieces frequently honor Mexican icons, such as Frida Kahlo, and channel influences from artists like Van Gogh and Dalí. In works like her renowned mural “La Frida Jarocha”, she captures both cultural heritage and personal emotion, using scale and detail to transform ordinary spaces into sources of energy and inspiration. Each painting is not just decorative, but meaningful—meant to uplift and resonate with the viewer on a personal level. For Márquez, painting is an act of love and intention. Her works are visual affirmations of life, celebrating not only beauty but the power of art to transform environments and elevate the human spirit.
BIEAF2025 Invited Artist
Hoang Khanh Du
Vietnam
Education: Hoàng Khánh Du tốt nghiệp chuyên ngành hội họa niên khóa (2008 - 2012), tại Trường Văn hóa Nghệ thuật Yên Bái. Theo học chuyên ngành hội họa tại trường đại học mỹ thuật Việt Nam. - Cảm hứng sáng tác: Khai thác tổng quát thế giới tâm thức của con người với con người, của con người với tự nhiên. - Phong cách: Thuận theo lẽ tự nhiên, thích nghi mọi hoàn cảnh. Artist’s Exhibitions: Thông tin triển lãm họa sỹ đã tham gia: Solo show: HOANG KHANH DU - Exhibition’s Date : 22/12/2017 tại 29 Hàng Bài, Hà Nội - Exhibition’s Name: “Cùng Ngộ” Đường link hoặc hình ảnh của họa sỹ ở triển lãm: http://youtu.be/9n5Lihi9lBE Group show: - Exhibition’s Date: Hàng Da, Hà Nội (2015) - Exhibition’s Name: Tết art Hàng Da (2015) http://youtu.be/1yGLWH_p4UY - Exhibition’s Date: Tokyo Nhật Bản (2015) - Exhibition’s Name: Art Olympia Tokyo Nhật Bản (2015)
Bộ ba bức tranh của tôi tên là tứ Đại,nó xuất phát từ lí luận của nhà phật,mọi sinh mệnh đều được tạo ra từ đất nước lửa gió.bốn người đứng bốn góc tranh đại diện cho tứ Đại,còn ngôi nhà sàn là đại diện cho nơi cư trú tạm thời,đứng trên mảnh đất hình con cá, mảnh đất hình con cá đại diện cho sự vận động của sự sống còn nhóm người hỗn độn đại diện cho xã hội con người đang dần mất phương hướng. Tứ đại càng ngày càng sung khắc tạo ra sự nguy hiểm cho xã hội con người. Thông qua tác phẩm mỹ thuật của tôi muốn gửi gắm đến khán giả và tất cả mọi người chúng ta đang sống trong một thời Đại vô cùng nguy hiểm, cấp thiết, môi trường ngày càng bị phá hủy nghiêm trọng. Nếu con người biết chung tay làm những hành động tốt đẹp cứu lấy trái đất thì thật đáng trân trọng, đạo đức con người cũng vậy, nếu làm được điều đó xã hội con người chúng ta sẽ trở nên tốt đẹp hơn.
Tứ Đại 1,Tứ Đại 2, Tứ Đại 3
lụa kích thước 60cm x120cm.
gouache trên giấy 39,5x109cm,
Acrylic trên toan có kích thước 160 x 218cmm
BIEAF2025 Invited Artist
HOARAU Céline
La Réunion
La grande nature réunionnaise, inscrite au patrimoine mondial de l’humanité par l’Unesco depuis 2010, inspire et nourrit l’imaginaire des artistes réunionnais et d'ailleurs. Puiser son inspiration artistique à la source de cette Nature nous oblige envers elle ; art et environnement sont interdépendants dans bien des cas. Que ce
soit comme source d'émotion à retranscrire sur une toile sous forme abstraite : essence pure qui touche l'âme ou l'esprit ; ou bien comme instrument pour susciter la prise de conscience à travers l'art : émouvoir pour sensibiliser à la richesse de notre biodiversité et de nos paysages naturels.
Céline HOARAU s’est lancée dans l’expression artistique pour exprimer les émotions fortes ressenties lors de ses immersions en pleine nature à La Réunion. Tout d’abord à l’aquarelle, fascinée par la fusion des pigments sur le papier gorgé d’eau. La grande nature réunionnaise, celle des Pitons, cirques et remparts protégés par leur inscription au patrimoine mondial de l’humanité, l’inspire tout particulièrement. Elle n’a de cesse de rechercher comment traduire l’émotion qu’elle éprouve devant un paysage, sa puissance et sa douceur à la fois. L’épure du paysage, juste son essence, sa lumière, son ambiance, voici les impressions qu’elle pose sur ses toiles abstraites ou ses aquarelles semi figuratives. Elle peint également des paysages intérieurs, expressions profondes nées de ces émotions, et questionne la relation de l’Homme à cette nature : « s’immerger dans un paysage, c’est aussi faire face à soi-même, se trouver ». "Céline HOARAU, par sa peinture, nous laisse explorer nos paysages intérieurs à la lumière de sa propre sensibilité à la nature et à notre humanité." (Amandine Bazin)
Heures froides
Peinture à l'huile sur toile de lin 73x60cm 2025
"L'Homme est la Nature prenant conscience d'elle-même" (Elisée Reclus) L'oeuvre présentée représente force et fragilité de la Nature mais aussi de l'Homme, partie intégrante de cette nature. L'Homme, représenté ici en jaune, contemple la majesté et la beauté de la nature qui le dépasse. Il prend conscience du lien indéfectible qui l'unit à cette nature et de l'importance de la protéger.
BIEAF2025 Invited Artist
SHIN HOBEEN
Korea
현재 수학강사를 하면서 처음 방정식들을 보며 신조형주의로 표현을 할 수 있지 않을까해서 작업을 시작했습니다. 처음 작품들은 작품 감상법에 답이 없고 관객이 보고 느끼는 그대로인 듯이 수학에 서 부정방정식 또한 답이 정해지지 않고 여러가지로 나올 수 있는 것에 입각하여 하나의 방정식을 여러가지로 표현해왔습니다. 그 이후의 작품들은 실생활에서 물리법칙 하나가 없어진다면 혹은 거꾸로 진행된다면 에서 시작한 상상들을 그림에 옮겼고 가장 최근 작품들의 흐름은 사람이 느낄 수 있는 감정들을 수치화하여 신조형주의의 느낌으로 재해석하거나 신조형주의의 기존 틀을 깨는 방향으로 연구하는 작품들입니다.
감정의 수치화1
아크릴 100x100 2025
신조형주의를 현대화하여 그림 안에서 감정을 수치화, 재구조화를 연구하여 나온 작품입니다. 좌측 상단의 작은 빨강 블록이 미안함을 상징하고 중앙의 큰 파란색 블록이 후회의 무게감을 담아내며 우측 하단의 옅은 노랑과 진한 노란색 블록은 그리움의 따스함, 희미한 여운을 레이어링했습니다. 그림위로 지나가는 부드러운 금새곡선이 감정의 흐름을 시각적으로 표했습니다.
그리움, 후회, 미안함의 중첩
아크릴 45x45 2025
전통적인 DeStijl스타일의 검은 기하학적 격자위에 각각의 감정상태를 표현하는 색상블록 위에 동심원 모양의 파동 무늬를 겹쳐 서로 다른 위상을 형성합니다.
Hyperbolic De Stijl
아크릴 60x60 2025
원형테두리 안에 수직, 수평 대신 쌍곡기하학의 geodesic곡선들이 격자를 형성하여 Poincaré Diskfmf 만듭니다. 화면 내 블록들은 부드러운 호로 경계를 이루어 격가의 경직된 느낌 대신 내부가 왜곡된 느낌을 줍니다. 형태 왜곡과 곡선 격자가 '감정의 심층적 뒤틀림'을 암시하며 관객이 시선 이동에 따라 각기 다른 블록의 비율을 느낄수 있도록 했습니다.
BIEAF2025 Invited Artist
BANHOIM
South Korea
현재 조선소 노동자로 일하고 있으며,
사진은 뜻밖의 풍경과 마주할 때의 기쁨과 설렘이다.
그 순간만 만날수 있어서 아쉬움이며,그리움과 기다림이기도 하다.
금오름의 아침
이중마트/55×44/2025
BIEAF2025 Invited Artist
Hong Huyen Nguyen Thị
Việt Nam
I am a painter, a writer born and raised in the suburbs. The place where my umbilical cord was cut. I live in a family, my father is a designer, my mother is a lacquer worker, my brothers and sisters are all painters. I am now also a true painter continuing the lineage of my family. I am currently a painter, a member of the Vietnam Fine Arts Association and a writer in Hanoi.
Hoang Khanh Du graduated with a major in painting (2008 - 2012) at Yen Bai College of Culture and Arts. Study majoring in painting at the Vietnam University of Fine Arts. - Creative inspiration: Exploiting the general world of human consciousness with humans, of humans with nature. - Style: Following nature, adapting to all circumstances. Artist’s Exhibitions: Exhibition information the artist participated in: Solo show: HOANG KHANH DU - Exhibition’s Date: 22/12/2017 at 29 Hang Bai, Hanoi - Exhibition’s Name: “Cung Ngo” Link or image of the artist at the exhibition: http://youtu.be/9n5Lihi9lBE Group show: - Exhibition’s Date: Hang Da, Hanoi (2015) - Exhibition’s Name: Tet art Hang Da (2015) http://youtu.be/1yGLWH_p4UY - Exhibition’s Date: Tokyo Japan (2015) - Exhibition’s Name: Art Olympia Tokyo Japan (2015)
Giai điệu mùa xuân
Sơn dầu, kích thước 70x90, 2024
My three paintings are called the Four Greats, which originate from the Buddhist theory that all life is created from earth, water, fire, and wind. The four people standing at the four corners of the painting represent the Four Greats, and the stilt house represents a temporary residence, standing on a fish-shaped piece of land, the fish-shaped piece of land represents the movement of life, and the chaotic group of people represents a human society that is gradually losing its direction. The Four Greats are increasingly in conflict, creating danger for human society. Through my artwork, I want to convey to the audience and everyone that we are living in an extremely dangerous and urgent era, where the environment is increasingly being seriously destroyed. If people know how to join hands to do good deeds to save the Earth, it is truly valuable, and so is human morality. If we can do that, our human society will become better. Thuy The work depicts the Muong ethnic identity in the grand musical melody celebrating the liberation of the Capital. With the skillful styles of two passionate young women, and enthusiastically welcoming the anniversary of the glorious victory of our people. Our ancestors have contributed to defending and building the country. The work has praised our national identity in the country's contemporary art.
BIEAF2025 Invited Artist
Hong Liu-Sertti
Finland
This is my first time joining the Busan International Environmental Art Festival, and I’m very happy to be part of it. I really support the theme "The Lost Center – Art in Crisis." Today, we face many serious problems like climate change, pollution, and the overproduction of consumer goods. These issues are affecting our planet and need more attention. I believe art can help people see and feel these problems in a different way. Through my work, I hope to share my thoughts and be part of a global conversation about how we can reconnect with nature and build a better future.
I am a Finnish artist with Chinese roots, and I have lived in Finland for over two decades. The country’s pristine landscapes, deep respect for nature, and harmonious way of life have been a constant source of inspiration in my artistic journey. My work bridges traditional Aisan techniques with contemporary expression, creating a dialogue between cultural heritage and modern aesthetics. Over the years, I have participated in or organized more than a hundred exhibitions worldwide. My solo shows include exhibitions at the Hiekka Art Museum, the Helsinki Cultural Centre, and Porvoo Art Hall in Finland, as well as the South China Art Museum in China, among others. I am a member of the Finnish Painters' Union and a recipient of grants from the Arts Promotion Centre Finland. In addition, I serve as the director and curator of Galleria Kookos in Finland.
Love To Be Free
Ricepaper on canvas, 80x60cm,2024
"Love for Freedom" is inspired by Finland’s sauna culture. After a sauna, it is common for Finns to plunge naked into a lake—immersing themselves in the beauty of nature, completely free and unburdened. In that moment, there is no restraint, no barriers—only a pure, intimate connection between human and nature. It is a profound and incomparable sense of freedom. In today’s world, where consumerism and materialism dominate daily life, this return to simplicity feels increasingly vital. True wealth is not measured by material possessions, but by the ability to live in harmony with the natural world. In the vastness of nature, we may seem small, yet we are truly powerful —because we possess the heart and awareness to protect what is essential. The imagery in the painting reflects these themes. The bird represents freedom—but it is also an eye, symbolizing human perception and vision. Water flows gently from this eye, suggesting that our awareness and care are what sustain the lake and keep its spirit alive. On the surface of the water, a small figure runs freely, joyfully, embracing nature without fear or boundaries. It is a celebration of the profound freedom that arises when we reconnect with the world around us—with openness, respect, and love.
BIEAF2025 Invited Artist
Hong O-Bong
Korea
Hong O-Bong 2025일본나가노이이다퍼포먼스 2025일본교토매장퍼포먼스 2025서울시원로작가선정 및 개인전 2025서울차갤러리퍼포먼스 2025서울조형갤러리퍼포먼스 도서출판 출간 현재 : 북한산퍼포먼스대표
미시 세계 속의 북한산
와트만지+색연필 8호 2024
BIEAF2025 Invited Artist
Horescu Ana
ROMANIA
My name îs ANA Horescu and I love to paint it s my dearest hobby and I want to fill în joy everybody and I sau thank you for whatcing my paint
Flowers for everybody
Canvas oil Painting
1.
Everybody loves flowers and I tray to put on canvas my feelings
2.
Children will be ale to save the world.
3
flowers for everybody
BIEAF2025 Invited Artist
Hua Wei
China
1967年9月生于哈尔滨市，1999年6月毕业于哈尔滨师范大学工艺美术教育专业。作品曾参加黑龙江省妇女美术作品展、“五·四”青年节哈尔滨市青年画展、黑龙江省庆祝香港回归祖国作品展等。
荷
水墨画 50x30cm 2025
荷花在中国文化中具有丰富的象征意义，它代表着高洁清廉的品格、
超凡脱俗的气质、君子之风以及生命力的旺盛等。
BIEAF2025 Invited Artist
Hubert Caño
Puerto Rico
Through the Red Sea… On a Banana Boat Hubert Caño This work emerges from the urgency to speak about forced journeys—about bodies crossing borders at great risk, carrying silences heavier than luggage. Through the Red Sea… On a Banana Boat is a poetic and critical image of displacement: a tropical banana transformed into an absurd vessel, loaded with memories, faces, and objects that drift between nostalgia and hope. The banana, a symbol of hunger, colonial trade, and commodification, becomes here a fragile means of transport for human lives treated as products in the global exchange. On this floating skin, I construct a visual theatre of gazes. The faces don’t speak, but they say everything: confinement, uncertainty, fatigue, resistance. They are fragments of interrupted stories. The red structure that houses them evokes both violence and bloodshed, and the “sea” is not just water—it’s a symbolic body, a border that divides and swallows, a liquid threshold that many do not survive. That’s why the title references both the biblical and the political—because every migrant needs faith to cross their own red sea. But this work also looks back—toward the place that is left behind. Migration doesn't only transform the person who leaves; it alters the environment left in absence. There is an ecological cost that’s rarely spoken of: abandoned lands, disrupted rural ecosystems, the environmental footprint of disconnection. The places we leave behind carry the echo of loss, and I wanted those remnants—those found objects—to speak in the piece. They are witnesses of what no longer fits in the suitcase. I work with assemblage because it allows me to speak in layers, to mix times, memories, and materials that have had other lives. I paint, collect, cut, and assemble—because images, too, migrate. This piece is an offering to those who have left, to those who carry exile as a second skin. I’m not looking for easy answers or comfort—only to offer an image that is unsettling, tropical, and ironic, where beauty coexists with protest.
Por el Mar Rojo… En Banana Boat
Mixed Media/Object/#Assemblage 70 x 84
Declaración del artista sobre la obra Por el Mar Rojo… En Banana Boat Hubert Caño Esta obra nace de una urgencia por hablar del viaje forzado, del cuerpo que cruza fronteras arriesgando todo, del silencio que arrastra la migración. Por el Mar Rojo… En Banana Boat es una imagen poética y crítica de ese desplazamiento: una banana convertida en nave absurda, cargada de recuerdos, rostros y objetos que flotan entre la nostalgia y la esperanza. El fruto tropical —símbolo de hambre, de comercio injusto, de lo que se exporta sin miramientos— se transforma aquí en embarcación precaria, en transporte simbólico de vidas humanas que son tratadas como mercancía en el flujo global. Sobre esta cáscara, construyo un teatro de miradas. Son rostros que no hablan pero que lo dicen todo: encierro, incertidumbre, cansancio, resistencia. Son fragmentos de historias interrumpidas. El color rojo que envuelve la estructura evoca tanto la violencia como la sangre derramada en el trayecto, y el “mar” no es solo agua: es un cuerpo simbólico que divide y traga, una frontera líquida que muchos no logran cruzar. Por eso el título: una alusión bíblica y política, porque cada migrante necesita fe para atravesar su propio mar rojo. Pero esta obra también mira hacia atrás, hacia el lugar que se deja. La migración no solo transforma al que parte: afecta el ecosistema que se queda sin cuerpo, sin trabajo, sin raíces. Hay un impacto ambiental silencioso: tierras abandonadas, entornos rurales que se modifican, basura cultural e industrial que se acumula donde antes hubo comunidad. Quise incluir esos rastros, esos objetos encontrados que cuentan lo que no cabe en los titulares. Trabajo con ensamblajes porque me permite hablar en capas, mezclar tiempos, memorias, materiales que han tenido otra vida. Pinto, colecciono, corto, ensamblo, porque así también migran las imágenes. Esta obra es una ofrenda a todos los que han partido, a los que cargan el desarraigo como una segunda piel. No busco respuestas ni consuelo: solo propongo una imagen incómoda, tropical y cargada de ironía, donde la belleza convive con la denuncia.
BIEAF2025 Invited Artist
Huo Da
China
霍达，黑龙江省美术家协会会员、黑龙江省美术家协会美术教育艺委会委员、肇东市书画艺术研究院特聘画家。哈尔滨广厦学院艺术与传媒学院教师，副教授。 ·美术作品获 黑龙江省教育厅第三届黑龙江教育系统师生国画·油画展教师组1等奖 ·美术作品获 中国人生科学学会“国青杯”艺术设计大赛1等奖 ·设计作品获全国高校文创产业推进会“艺蕴中国·全国艺术教育创新成果展”专业组1等奖 ·美术作品获黑龙江省文学艺术界联合会“首届黑龙江省平面设计双年展”银奖 ·美术作品获 黑龙江省文学艺术界联合会“首届黑龙江省新文艺群体美术作品双年展”铜奖
北国夏风
纸本设色 60x60 2025
以写意山水画的形式创作了这幅团扇作品，试图用传统与现代相结合的方法使墨与色浑然天成。在夏的概念中描绘出凉爽的感觉。笔墨的运化行走追求与自然的对话，山体骨架，树枝结构运用传统骨法用笔，云雾水气，墨色渲染则追求气韵生动。点景房屋线条舒朗，树木点叶墨韵自然，空间分割上开合有序，下面空白留有余地，给人一种幽境深远的感觉。从技法上看有着传统笔墨技巧，又不拘于一家风格，结合写生创作，追求一种独特的审美取象。
