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Artworks of the week
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Novo
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Novo < Art of Travel >
NOVO is an artist who began his career as a tattooist before expanding his practice into painting. His works originate from objects discovered in everyday life—characters, toys, and souvenirs collected during his travels. Rather than treating these objects as passive subjects, NOVO spends time observing them and cultivating a personal relationship with each one. He describes this attitude through the word understand. For him, to understand is not to look down upon a subject, but to stand beneath it with humility and respect. The emotions that emerge through this process of attentive observation are ultimately translated onto the canvas. Regardless of subject matter, NOVO approaches painting through the language of the still life. Rather than pursuing faithful representation, he begins by collecting an object, placing it within his own environment, and allowing time to build a relationship with it. Through this process of understanding, each object acquires a new identity. Familiar characters, spacecraft, toys, and found objects become companions that explore the world on the artist's behalf. References to cinema and popular culture frequently appear throughout his work. E.T., released in the same year the artist was born, becomes a heroic figure whose innocence has the power to save the world, while Buzz Lightyear exists simultaneously as a toy and an astronaut, embarking on imaginary journeys in place of the artist himself. These intimate relationships enrich his paintings with narrative while continually expanding the imaginative world he constructs.
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Lee Sunjoo
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Lee Sunjoo < Art of Travel >
For Lee Sunjoo, travel is a moment to reflect upon her life and reaffirm her sense of self. It is an experience of self-discovery. Rather than accepting the conventional meaning of travel, Lee reinterprets the concept through her own perspective. Within society, individuals assume multiple identities—as family members, professionals, and members of a community. The artist believes that it is by stepping away from these social roles that one is able to perceive one's true self with greater clarity. She therefore redefines travel not simply as physical movement (Yeohaeng, 旅行), but as an inward journey (Yeohaeng, 女行), a process of reflecting upon her life as a woman. Her travels have taken her to destinations including Udo Island, Geoje Island, Southern France, Tokyo, and Las Vegas. Whenever she encounters an unfamiliar place, her attention is drawn less to well-known landmarks than to the subjects that naturally hold her gaze: trees swaying in the wind, wildflowers, forest plants, and the ever-changing surface of the sea. Observing these elements allows her not only to document the landscape but also to recognize what continues to attract her attention and, ultimately, what she values most. Travel thus becomes a means of understanding herself through careful observation of the natural world.
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CHAE HYESUN
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Chae Hyesun < Art of Travel >
Chae Hyesun collects images drawn from everyday life and contemporary consumer culture, constructing narratives centered on the perspective of her companion dog, Loongki. Her works are populated with familiar visual elements—including popular characters, brand logos, packaging, souvenirs, and household objects—that are readily encountered in daily life. While employing an accessible visual language, the artist quietly examines contemporary patterns of living, consumer habits, and the repetitive behaviors that shape everyday experience. For many years, Chae has focused on the repetitive nature of consumption embedded in ordinary life. Online shopping, waiting for deliveries, and purchasing beverages from cafés have become routine activities for many people. These everyday practices, however, are inseparable from broader environmental concerns such as the increasing accumulation of waste. Rather than addressing these issues through direct criticism, Chae adopts a playful and approachable visual language. By incorporating familiar imagery, she encourages viewers to reflect naturally upon their own lifestyles, a characteristic that has become central to her artistic practice.
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Yoon Songah
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Yoon Songah < The Garden of Hebe >
Yoon SongAh is an artist who portrays the sense of alienation experienced by the individual within society. She made her debut in 2023 at the ASYAAF (Asian Students and Young Artists Art Festival), where she quickly drew critical attention. Having spent her childhood abroad due to her parents’ overseas postings, she was exposed to diverse cultural environments. In particular, her encounter with gongbi painting in China awakened her to the allure of East Asian painting, which she later went on to study in earnest. Yoon’s paintings originate from vivid dreams she once had. In one such dream, all human figures had vanished, leaving streets filled only with thickets in the shape of human bodies. The solitude and unease she felt in this striking vision became a central motif in her work. Her compositions often feature dense forests of towering trees alongside a solitary boy. In this context, the boy symbolizes an individual unable to assimilate into society, while the trees represent the collective or the social body. The ‘eyes’ painted on the tree trunks signify the gaze through which society observes, judges, and appraises the other. These eyes may fixate on the boy, turn away in indifference, or even convey hostilityvisual metaphors for the mechanisms of surveillance, control, and attention imposed by society.
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Jeane Yoon
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Jeane Yoon < The Garden of Hebe >
Jeane Yoon, an artist who captures the fleeting beauty of nature’s transformations through mother-of-pearl, studied Architectural Design at the University of Pennsylvania in Philadelphia. Having lived abroad since her high school years, she grappled with questions of identity between Eastern and Western cultures. For her, the sea has always been a source of solace; the undulating waves and shifting hues of the ocean became the foundation of her practice. Mother-of-pearl possesses the unique quality of subtly shifting with the angle of light. In her Iridescent Serenity series, the material shimmers like sunlight breaking upon the waves or the frothy crest of the sea. Rather than depicting the ocean in its literal form, Yoon reassembles the emotional fragments she experiences each time she encounters the sea. The iridescence changes entirely with the viewer’s movement and the play of light, embodying the fragments of emotion she felt in front of the water.
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Han YunJe
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Han YunJe < The Garden of Hebe >
Han Yunje majored in Sculpture at Hongik University and completed the doctoral coursework at its graduate school. Through his sculptural practice, he has structurally explored issues of memory, perception, and viewpoint. Constructed from industrial materials such as stainless steel and acrylic, his works are designed with careful consideration of light, reflection, and transmission, forming meaning through their relationship with the surrounding space. Rather than presenting specific scenes or events directly, his work reveals the nonlinear nature of memory through structure and framing, layering and segmentation. The artist describes this concept as “Mem-sion,” a term combining Memory and Dimension, suggesting that memory is not a singular image but is perceived differently across multiple dimensions and perspectives. His practice is architectural in character. Linear elements, grids, and repetitive frames construct sectional spatial experiences, while layered planes allow viewers to perceive shifting relationships of form and color depending on their position.
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Hwang YooJung
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Hwang YooJung < The Garden of Hebe >
Hwang YooJung majored in Western painting at Ewha Womans University and received a Master of Education (Ed.M.) in Art and Art Education from Columbia University Teachers College. Her work originates from experiences of everyday spaces and objects encountered in daily life. Rather than dramatic events or extraordinary scenes, her work begins with observation. The artist records repeatedly encountered objects and spaces through photographs and sketches, later revisiting them over time and focusing on the altered state of memory that emerges through recollection. Modest subjects—light passing through a window, a palette on a worktable, coffee cups, key rings, and flowers—serve as primary motifs that evoke traces of memory. While Hwang renders her subjects with realism, representation itself is not her objective. She describes her approach as “perceived memory,” revealing memory as a process of selection and transformation. Methods of cutting, layering, and overlaying visualize how memory remains not as a complete image but as fragmented remnants.
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Naomi Gunji
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Naomi Gunji < ECHO >
Naomi Gunji graduated from the Department of Oil Painting at Musashino Art University and later studied in the Department of Oriental Painting at Seoul National University, where she absorbed both the traditions of East Asian painting and the language of contemporary painting. After marrying the Korean sculptor Do Heungrok, she settled in Korea and has since developed a distinctive painterly world shaped by the intersection of two cultural sensibilities. Through meticulous observation of her everyday surroundings, the artist continuously reflects on the intertwined nature of life and death. Nature—flowers, trees, forests, and animals—appears repeatedly throughout her work, not as simple representations of scenery, but as manifestations of her contemplation on mortality. While her paintings initially appear calm and lyrical, beneath the surface lies an inherent tension in which creation and extinction coexist simultaneously.
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Song Ji Young
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Song JiYoung < ECHO >
Artist Song Ji Young who has been interested in color perception brings artificial light into the canvas and harmonizes it with the brush touch to create a new formative language. As a line which is an element of the artwork, the light exists in the painting and influences the surrounding colors and forms. Paying attention to the interaction between physical properties and colors from other material within a canvas, and closely observing the change of color according to the illuminance of light is manifested from the curiosity about the process of perceiving color.
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IM Sangbin
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IM Sangbin < Hyper Scape >
The philosopher Immanuel Kant proposed that human beings do not encounter the world directly, but rather experience it through inherent structures of perception. What we apprehend, therefore, is not the thing-in-itself, but a construct shaped by subjective cognition. Sangbin Im’s practice resonates closely with this epistemological framework. By capturing urban, natural, and cultural environments through the lens of a camera, and subsequently synthesizing thousands of visual fragments, the artist constructs images that transcend the limits of photographic documentation. In his work, photography no longer functions as a mere record of a fleeting moment; it becomes a compositional medium through which disparate temporalities and spatialities are intricately interwoven. Im’s images are grounded in reality, yet they depict scenes that do not—and cannot—exist. They prompt the viewer to recognize the world not as a fixed entity, but as a perceptual outcome formed through shifting viewpoints and accumulated sensory experience. The city has long been a central subject in the artist’s investigation. Through the deliberate distortion and expansion of architectural imagery, iconic structures such as Tiananmen, Geunjeongjeon Hall, and Cheomseongdae are reconfigured into monumental forms that appear to pierce the sky. These exaggerated constructions function as visual embodiments of human ambition, power, and desire. The resulting spatial distortions generate a palpable sense of gravitational force and latent energy, compelling the viewer to confront familiar environments with renewed estrangement and awe. In works where traditional palatial architecture is juxtaposed with contemporary urban skylines, multiple temporal registers coexist within a single pictorial field, suggesting that our lived reality is layered across overlapping historical strata.
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Shin Sun joo
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Shin Sun joo < Imaginary Reconstruction>
Shin Sun Joo employs a technique of scratching into canvases densely layered with oil pastel, moving beyond the mere reproduction of photographic moments to reconstruct the stratified nature of memory. By erasing from a surface saturated with darkness to reveal emerging forms, his paintings articulate a paradoxical structure in which images are generated not through addition, but through subtraction. His method has been described by a curator as a Manière noire. This term does not merely denote a preference for dark tonality; rather, it articulates an approach in which darkness absorbs light, condensing space and time into a material field. Black, in this context, functions not as background but as density — a charged spatial condition from which form is excavated. The artist’s scratching process bears a structural affinity to mezzotint, a form of intaglio printmaking historically referred to in French as manière noire. As in mezzotint—where the plate is first darkened and light gradually revealed—Shin’s paintings follow a similar logic, allowing forms to surface from within darkness. He softens oil pastel with the warmth of his fingertips, pressing it into the canvas, and subsequently incises the surface with a sharp metal stylus to construct the image. The process demands a level of concentration akin to sculptural labor. As one critic has suggested in comparing his practice to tapestry weaving, Shin’s work traverses photography, printmaking, and painting, resulting in a rigorously constructed visual field.
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Yoon Jeong Sun
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Yoon Jeong Sun < Imaginary Reconstruction>
Yoon Jeong Sun captures the essence of remembered spaces. Her artworks depict realms that simultaneously exist and do not—constructed from her memories, isolated from the passage of time and the flux of people and environments. Like entries in a secret diary, Yoon records solitary moments within these spaces. Her artistic journey began in the early 2000s with predominantly monochrome works, influenced by the overcast skies of England and the bustling streets of China. During her time in Beijing, she introduced vibrant primary colors into her depictions of deserted urban landscapes, marking a significant evolution in her style. These colorful elements in empty settings symbolize enduring memories. One of her hallmark series, 'Embolium,' features night scenes like the luminous facade of the Myeongdong Cathedral Jesuit Hall against a backdrop of profound darkness. The reflected lights—purple, pink, and blue—capture the artist’s emotions, creating a striking contrast with the shadowy structures. These nocturnal moments, akin to an interlude in a play, offer a pause from daily life, allowing Yoon to deeply reflect on her artistic existence and the essence of her work.
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RANGRANG
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RANGRANG < BLOSSOM >
RANGRANG (Jeong Seo-yoon) seamlessly fuses the traditional Korean material of nacre (mother-of-pearl) with contemporary painting, establishing a distinctive visual language of her own. Her work explores light, color, and the intricate relationship between humanity and nature, visualizing the transformation of light through the iridescent surface of nacre. For RANGRANG, nacre is more than a decorative element—it serves as a bridge between tradition and modernity, East and West. Its ever-shifting colors and textures, which change depending on the viewer’s angle and the surrounding light, mirror the fluid and dynamic nature of human relationships. The artist harnesses this quality to evoke the intertwined connections between people.
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Bunpei Kado
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Bunpei Kado < DREAM HOUSE >
Bunpei Kado (b. 1978) graduated from Musashino Art University, majoring in Metal Craft within the Department of Industrial, Interior and Craft Design, and has since pursued his career primarily in Japan as a contemporary sculptor. He collects ordinary, everyday objects, combining and transforming them to present fresh perspectives on the concept of home. Central to Kado's practice is the sculptural representation of familiar objects juxtaposed with disparate elements or structurally reconfigured. Objects such as barrels, tanks, drawers, chairs, and household furniture—typically functional in their usual contexts—undergo a reconfiguration of their semantic implications through artistic recombination and relocation. Crucially, Kado's interest lies not merely in replicating outward appearances but in emphasizing or destabilizing the semiotic attributes of these objects. When processing diverse media such as metals and wood, Kado intentionally highlights or obscures their physical characteristics. By artificially oxidizing metal surfaces or concealing wood joints, he creates an intentional sense of temporality and wear, producing paradoxical objects that resemble readymades yet remain distinctly crafted. His works sit at the intersection of traditional craftsmanship and contemporary sculptural conceptualism.
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Hyemin Lee
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Hyemin Lee < TWO ARTISTS>
Hyemin Lee is an artist who continuously reinterprets everyday materials, transforming them into sculptural language that explores human emotions and social experiences. Through her work, she offers audiences new visual experiences and emotional resonance. Her art goes beyond the materiality of objects, raising emotional and philosophical questions, making her a prominent artist in contemporary sculpture and installation art. Her interest in art is deeply rooted in her childhood. Fragments of fabric carrying family traces, old pillows, and the memories embedded within them have become key themes in her creative process. She delicately reconstructs these remnants, transforming them into sculptural pieces infused with emotional significance rather than mere objects. This process serves as a form of personal healing while simultaneously fostering empathy and emotional connection with the audience.
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Jung Jin
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Jung Jin < TWO ARTISTS>
JungJin presents multi-layered paintings where reality and fantasy intersect. Her works superimpose two-dimensional graphic design elements, mythical and fairy tale characters, and other imagery onto realistic landscapes, merging different temporal and spatial narratives into a single canvas. These overlapping images, combined with bold, primary colors, create a unique tension within the composition. Within these fairy tale-like scenes, the artist’s inner anxieties are subtly projected, blurring the viewer’s perception. A defining characteristic of her artistic approach is the continuous experimentation with the limits of the painting plane by blending traditional landscape techniques with contemporary pop culture imagery.
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Lee Ji-Won
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Lee Ji-Won < Ocean of magma >
Lee Ji-Won’s paintings capture the process of inner dialogue through connections with healing elements in nature. Her depictions of nature are lush and vibrant, with characters sharing emotions quietly yet profoundly. Through cherished moments with loved ones and playful times with her dog, she expresses the value of happiness and how these moments bring healing and energy, rendered in meticulous brushstrokes. Lee’s work offers viewers a meditative and restorative experience, guiding them to find personal tranquility. Her art invites viewers to rest instinctively within nature’s beauty and experience inner peace.
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Nam Kyung Min
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Nam Kyung Min < Invitation to N - Into Inner Landscapes>
Nam Kyung-min is an artist known for her imaginative portrayals of the private studios of master artists such as Vincent van Gogh, Claude Monet, and Paul Cézanne. Her art often reimagines these spaces as introspective environments filled with furniture, books, and symbolic objects that reflect the lives and creative struggles of these figures. Nam invites viewers to peer into these secluded realms through slightly open doors and parted curtains, sparking curiosity about the intense, private spaces where these renowned artists once worked. Nam's renderings sometimes draw upon real-life visits to the artists' spaces, but more often they are imaginative reconstructions. She fills these spaces with metaphoric objects that encapsulate universal themes: a skull and a candle symbolizing life's brevity, a glass bottle representing the transparent purity of an artist’s inner self, and wings that reflect unfulfilled aspirations. These objects are placed in the space without any specific order, giving an air of effortless symbolism.
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Whei Za Kim
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Whei Za Kim < Contemplation >
Whei Za Kim is an artist who graduated from Seoul National University's College of Fine Arts and later earned a master's degree in printmaking from Sungshin Women's University. Following her studies, she established a unique artistic vision while working as a visiting artist in New York. During her time in the coastal forests of Long Island, she experienced profound healing through her connection with nature. Observing trees that grow from the earth and stretch towards the sky, she became deeply attuned to the vitality and energy of the universe. Kim acknowledges the limitations of science in understanding the essence of Qi—the fundamental energy of the universe—and believes that only through the human subconscious and emotions can one truly grasp and connect with this essence. For her, creating art is an ongoing dialogue with the cosmic mysteries, drawing endless inspiration from trees.
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Kim Si Jong
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Kim Si Jong < LIFE IN EQUILIBRIUM >
Kim Si-Jong reinterprets 17th century Dutch still lifes through modern collages. These historically lavish works resemble today’s social media culture of flaunting wealth and status. Despite the evolution of cultural practices, the essence of social survival remains unchanged. Reflecting on the global pandemic, Kim’s pieces incorporate withered flowers, skulls, and hourglasses to convey the message, “Remember death.” Through advanced photography and digital editing, he merges reality and imagination, transforming the sizes and colors of flowers and animals to create a world where diverse life forms coexist.
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Hong Jee hui
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Hong Jee hui < LIFE IN EQUILIBRIUM >
Hong Jee-Hui uses upcycled materials like discarded glass and Styrofoam to create objects inspired by nature’s four seasons. By incorporating artificial substances symbolizing human progress and desire, she suggests ways to achieve harmony between humans and nature. Her process mirrors the cyclical patterns of nature, restoring resources and generating new value. In this exhibition, she draws on her daily walks to present new perspectives on sustainable living. Her work encourages viewers to reflect on respect for nature and coexistence, providing a contemplative space in today’s materialistic society.
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MeME
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MeME < U GOT THIS > < Pink Christmas >
MeME offers a hopeful worldview centered on the independent life and happiness of contemporary individuals by bridging cartoon elements from popular art with a diverse array of visual arts techniques, including mixed media, flat surfaces, and stereoscopic presentations. The materials used in all of the artist's works symbolize human subjectivity, transforming artificially created environments to overcome biological limitations and craft a necessary world for themselves. The character of Object Pigme embodies the frailty of the artist and modern individuals within the confines of contemporary society. Born as a pig lacking self-esteem, Object Pigme, always aware of its surroundings, sports elongated ears akin to a rabbit and a timid, small mouth. Heart goggles symbolize a beacon illuminating a paradise of happiness for Pigme, flying with fervent energy, dreaming of joy. Through Pigme's journey to rediscover lost self-esteem, the character returns to a state of pure innocence devoid of self-consciousness, constructing a surreal utopia for all modern adults in pursuit of their dreams.
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Cho Jae Yeon
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Cho Jae Yeon < BULE DRAGON >
Cho Jae Yeon addresses the anxieties and contradictions faced by contemporary individuals, depicting them whimsically and using playful elements to navigate through fairy tale-like narratives. The dinosaur figures appearing in the artworks are somewhat indistinct within thick brushstrokes. The kitschiness perceived amid the arrangement of vivid colors can be seen as the artist's way of expressing the imperfections of modern life. The yellow smile atop these dinosaurs is Jaeyeon's cheerful greeting, simultaneously conveying a message of optimism—suggesting that everything will eventually fall into place.
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Lee Soyoung
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Lee Soyoung < BULE DRAGON >
Lee Soyoung has been reinterpreting the aesthetic beauty of traditional Korean folk paintings in a contemporary light. Her artworks depict various figures commonly found in Goguryeo murals, late Joseon folk paintings, including floral designs, animal figures, and diverse symbols used in royal contexts. She creates new works by collaborating modern design elements with traditional figures, resulting in a synergy that showcases a deeper essence of Koreanness. Bold Eastern colors reminiscent of Dancheong, traditional Korean decorative coloring, are boldly used in her works. Amidst the vibrant palette, she employs the dichotomy of monochrome, white, and black, adding weight to modernity within her art. Lee Soyoung constructs a fresh and evocative artistic realm through her interpretation of folk paintings from a modern perspective.
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KIM MINHA
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KIM MINHA < Pink Christmas >
Artist Kim Min-ha conveys a positive, warm, and pure inner essence to people, akin to an orchestra's performance, through the various visual languages present in their work. The artist is primarily focused on the excitement that emerges from new attempts, trials, and errors, exploring diverse expression techniques, compositions, and a paradigm-breaking interpretation, diverging from the realm of intense painting. The recurring motifs of rabbits and girls in the artist's works represent the artist's childhood self and encapsulate the pure essence retained as an adult. This purity fuels the artist's fairytale-like imagination. Kim Min-ha's artwork aims to depict a joyful narrative that resonates with the audience, evoking a sense of happiness akin to being immersed in a gentle drizzle.
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KIM HANKI
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KIM HANKI < Pink Christmas >
Science embodies an artistic realm within the world of Kim Han-ki. Through his artworks, the artist conveys the essence of science, interpreted as a form of art, to the public. In his notable series 'We Still Add U,' Kim narrates the tale of discarded iPhones and iPods. These devices, once deeply cherished but eventually abandoned with the release of newer versions, encapsulate the unchanging affection and longing of humanity. Kim Han-ki, a scientist and professor specializing in new materials and engineering at Sungkyunkwan University, lacks formal education in the arts. Nevertheless, he freely expresses scientific content and formulas, seamlessly integrating them into the spectrum of materials across the field of science. His artworks cleverly satirize issues stemming from advancing civilization, showcasing both wit and enduring impact. The formulae depicted in his work resemble ancient inscriptions left on murals.
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PARK SUNMI
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PARK SUNMI < Pink Christmas >
Park Sunmi's artworks prominently feature parrots symbolizing speakers. These avian depictions represent the artist's contemplation of entities entitled to hold diverse opinions. The birds portrayed in the artist's works reflect various perspectives: some birds, devoid of light in their eyes, plunge into the abyss of infinite contemplation, seemingly frozen in time, while others, with sparkling eyes, assert their presence and exhibit unwavering self-belief. Through birds characterized by distinct stories, names, and personalities, the artist visually expresses philosophical musings. Continuously delving into self-reflection as an objectified entity, Park Sunmi remains faithful to nuanced emotions, delving deeply into the lives of beings, including self. Graduating from Hongik University, the artist initially worked as KBS's inaugural radio writer. Furthering their studies in painting and printmaking, they pursued education at the New York School of Visual Arts and The Art Student League of New York. Since 1997, Park Sunmi has consistently showcased their works in both team and solo exhibitions.
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LEE SARA
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LEE SARA < Pink Christmas >
Lee Sara's Wonderland series captures a delicate and inviting essence on the canvas, achieved through meticulous knife scratches that unveil a multi-layered history of meticulous work. The intricate patterns, reminiscent of a hidden picture quest, interlace joyous motifs reflecting hope, aspirations, and delight, forming a tapestry of happiness and optimism. Using endearing animated imagery like girls and teddy bears, the artist constructs a new wonderland within their works, encapsulating a concentric world within modern society. This Wonderland series stands as a testament to this artistic expression.
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LEE SOJEONG
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LEE SOJEONG < Pink Christmas >
The garden depicted in Lee Sojung's artworks serves as both a repository for concealed stories and a protective barrier, encapsulating a mysterious realm. Functioning as a blend of natural and human-made elements, the forest within the art portrays a dichotomy—simultaneously offering both an eerie and secure ambiance while infusing a raw, botanical energy into the stark space. The garden's diverse iconography is rich in mythical themes and symbols, projecting the artist's inner fantasy through fortress-like structures, plants, olives, laurels, and pigeons. Lee's artistic technique involves a striking juxtaposition of dark backgrounds, scratched with oil pastels to reveal vibrant colors. Moreover, the layering of colored paper creates depth and dimension, representing hope emerging from darkness. Graduating with a major in Korean painting from Dong-A University's Department of Art, Lee further pursued a master's degree at Pusan National University's Department of Art. Since then, they have actively participated in numerous solo and group exhibitions in Busan. In 2020, Lee notably contributed to the artwork
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IKU HARADA
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IKU HARADA < Inner Space >
For 15 years, Iku Harada has woven the fabric of a virtual world using 3D modeling software. She has etched the nature of her birthplace, where she came into the world and grew, onto the canvas of virtual space. The artist, who crafts fragments of memory into maps, has, in a role of God within this world, meticulously created their own realm, 'Inner Space'. It means her utopia, a virtual world rooted in reality.The concept of 'Inner Space' takes on the form of an island floating upon the sea, where the sea is colored in blue and the land is represented as a green plane symbolizing meadows. Atop this canvas, sculptures of nature, homes, landmark architectures, and more find their places. Furthermore, she has breathed life into the virtual realm by implementing light and shadow, infusing it with vitality. The artist, who once wandered through her computer-generated world of imagination, has transformed the landscapes within into two-dimensional paintings and three-dimensional sculptures, manifesting them into reality. Harada is engaged in a creative endeavor where computer-generated virtual space and the physical world overlap and intertwine. Her artworks are not only an attempt to materialize virtual reality spaces but also a reflection of spatial motifs from the real world into the virtual realm, ultimately enabling viewers to traverse between both worlds. Her artworks, where multiple dimensions of space overlap, resonate with us who spend a significant amount of time in virtual spaces, evoking empathy.
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