Through her healing landscape paintings, Yuji Lee expresses the inner wounds and feelings of loss that so many of us conceal from view. As if constructing a stone wall, she depicts a unique collection of bodily forms coexisting in a state of balance. Here, each body appears in a cocoon-like state, shielding itself from the specter of harm in the hope of some day transcending the abyss within. Yuji began by collaging pencil drawings into two black and white pieces before transferring both to color on canvas. While her initial landscapes appear as a dark and unsettling representation of internal despair, the use of dreamy oil paints and pigments demonstrate the resolve of Yuji’s subjects as they cultivate inner desires into a light and airy garden of transformation.

Rainy Season is part of the Minjeong Seo’s King of Dawn series (2023), exploring the delicate exchange between two opposing energies that offer warmth and support amidst the weight of storm clouds. It reflects Minjeong’s ongoing exploration of dualities, particularly the tension between life and death, solitude and connection.

Inspired by personal loss, Minjeong’s piece portrays the solitude of existence and fleeting moments of intimacy, inviting the viewer to reflect upon shared warmth in times of loneliness. Using layered colors and lines, Minjeong continues to break down and rebuild forms, shifting towards abstraction to capture the cyclical nature of life’s struggles.

For Minjeong, the monsoon is both a meditation on the pain of alienation and a tribute to the quiet resilience that sustains us through the torrents of human existence.

Eun Lee is inspired by W.B. Yeats’ belief that genuine thoughts emerge not from the mind, but from the body as a whole. In this sense, strolling and immersing herself in the beauty of the natural world, and translating scenic fragments and corporeal emotions into her works is integral to Eun’s creative process.

In this piece, Eun blends and rearranges incongruous elements of light and form, capturing the fleeting, transitional, and surrealist essence of grass waving in the breeze. In doing so, her painted landscape oscillates between reality and an otherworldly realm. Within this protective, meditative, and visceral sanctuary, the audience is free to explore a space where personal and shared experiences intersect, the past and present converge, and the oneness of existence and uniqueness of all beings is more apparent than ever before.

In this piece, Hyeyeong Ji delivers an evocative and healing message of absolute purification. Here, the lifeblood of her imagination is filtered dramatically through the medium of water. Like the eponymous bomb, her fluid terrain swells into a sublime space that immerses the viewer, activates the senses, and accentuates the transcendental power of nature. Hyeyeong’s deluge of pigmented droplets circulate, overlap and ultimately collide in the form of breakers, the cyclical movement of which celebrates the energy of creation, extinction, and all the elemental forces in between. 

In this positively pulsating piece, Eunha Jang channels the power of nature with a sense of pure emotion and spiritually restorative results. Rather than reproduce a single landscape or organic moment in time, Eunha endeavors to capture the dynamic and unpredictable circulation of Mother Earth’s energy. She constructs an ever-changing, fluid and ultimately restorative terrain where rural memories and a desire for a more sustainable future converge into a picture of coexistence. 

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