It’s not just the face of life. The face of spring is a breeze blowing over the field, the waves of rice dancing, the flowers in blossom, and the smiling faces. We are no longer burdened of anything, and in thoughts we walk with confidence. All that is visible and invisible suddenly feels joy and hope. It’s the reflections of life and the faces reflecting life; through colors, metaphors, symbols, imaginations and things, and sincerely, romantically, melancholically, hesitantly or sophisticatedly, we bring you twenty images to sketch youth, to fancy the world and to make a beautiful future.

We have Yoshitomo Nara’s little girl, staring her big eyes, with curiosity, stunned and innocence, carefully surveying the first step of her life. Meanwhile, Mr.’s young boy is prepared, spirited so, to have his fantastic, magical first experience. On the other hand, spring is but a kitten next to the peach blossom Jang Tarng-Kuh plays with, while for Wang Pan Youn, a dog in the forest runs through autumn and winter searching for spring. Spring is also Marilyn Monroe to Kim Don Yoo, her charming eyes and lips and hair all carved with the images of John Kennedy. Or, for Chiharu Nishizawa, spring are the choices to make when growing up between the toy world and under the blue sky.

Spring is the sweet, blissful code for lovers; it’s the mask of the infinite universe, the face of an artist’s subconsciousness. Spring is the beginning of hope. It’s the elated Minnie that Keng Hao Kang portrays to signify innocence and the warm helplessness for Hsiao Chu-fang. Even though Araki Shozo’s young man always carries himself with ostensibly gloomy steps, the little bear in everyone’s heart knows, as Eddie Kang, the flower-picking and smiling Buddha as well as Kwon Ki-soo’s Dongguri also know, at the center of the furious, blowing waves and behind the crowded jungle of the city, there’s always the hidden easy and quiet pleasure.