This work is created entirely with acrylic, developed through layered washes and matte mediums to achieve a soft, light-absorbing surface.

Drawing from the structure of the traditional Korean Ilwol Obongdo, the composition unfolds as a single field containing mountains, water, the sun, and the moon.

Rather than emphasizing monumentality or contrast, the elements emerge through repetition and overlap—mountains without weight, waves without urgency.

Day and night, the four seasons, and multiple landscapes coexist without hierarchy, held together in a continuous present.

Though shaped during a period of homesickness, the work does not depict a specific place. It gestures instead toward an inner landscape—familiar, steady, and quietly shared.

By relocating imagery once associated with authority into a domestic space, the painting becomes a gesture of presence and welcome. It does not seek attention, but breathes with the space it inhabits.