The White Night series captures the soft glow of twilight, those fleeting moments when day quietly slips into night. The works create a dreamlike atmosphere, where the sense of time begins to fade. Warm and cool colors intertwine across the canvas, revealing nature as both a place of escape and quiet reflection. Beneath the surface lies a sense of nostalgia and contemplation. Inspired by the artist’s observations of the city, the buildings within the paintings are not merely architectural forms. Instead, they stand as silent containers of memory, evidence of moments that once existed.

The White Night Mountain Residence series on the 3rd floor portrays tranquil natural landscapes through elements such as stone and flowing water, while block-like forms suggest human-made structures. Together, they create a utopian mountain setting that exists somewhere between reality and imagination.
Reflecting a quiet longing to retreat from the noise of modern life, the works explore the tension between old and new cities, nature and the built environment. Within these contrasts, the artist seeks a sense of harmony—suggesting that nature remains the place we ultimately return to.

The Artificial Landscape on the 4th floor reflects on the environments we inhabit today—where the boundaries between city and nature often appear real, yet are shaped by our imagination and perception.
At the same time, the work draws on childhood memories, where imagined figures and unreal worlds felt deeply real. Moving between reality and fiction, the series explores how these experiences shape the way we understand and connect with the world.

The 5th floor centers on the theme of night, where the artist uses a lyrical approach to explore how we experience our surroundings after dark.
The landscape depicted go beyond what is seen—they are shaped by bodily sensations and emotional states, creating an intimate and deeply personal connection between the travelers and the environment.

A Place Passed Through on the 6th floor explores the landscape that exist between the natural and the man-made. Water, land, and plant life gradually merge, dissolving clear boundaries as subtle transformations unfold.
For the artist, nature is not distant or idealized—it is embedded within everyday life, often overlooked in its transitional states. Through repeated depictions of these shifting environments, the works reflect on how reality exists within movement and uncertainty.
Rather than presenting itself in fixed forms, reality emerges quietly through moments of seeing, walking, and pausing—inviting visitors to sense and experience it in their own way.

On the 7th floor, two works use the shifting landscapes of day and night as a way of seeing the world.
Night is not presented as an end to light, but as a more intimate state in which reality can be deeply felt. Dreams, in turn, are not an escape from the real, but a reflection of it.
Through the transitions between day and night, dream and reality, the works explore the many possibilities of what reality can be.

On the 8th floor, a series of acrylic sketches captures plant forms through a process of layering—each work built gradually, one layer per day, from different perspectives.
As brushstrokes accumulate over time, overlapping colors create a ghost-like afterimage on the canvas. This process transforms the spatial presence of sculptural forms into flat silhouettes and contours, giving rise to a unique sense of time that exists between reality and imagination.

On the 9th floor, a series of sculptures takes plant forms as their foundation, constructed through repetition, arrangement, and juxtaposition.
Composed of recurring botanical elements, the works use symmetry and structural connections to explore relationships between people—distance, attachment, and balance. The Garden Slices series, presented in a relief-like format, transforms growing plants into sectional forms, further examining materiality and surface layers.
Through these perspectives, visitors are invited to engage with the sculptures from multiple angles, discovering new ways of seeing.

On the 10th floor, The Seventh Day Never Rested is not about completion, but about continuous existence. Green threads, reminiscent of plant growth, slowly unfold over time, evolving through subtle and ongoing changes.
Through repetition and cycles, the “seventh day” no longer marks an ending, but becomes a beginning. Threads extend across layers, emerging from delicate starting points and gradually forming a sense of time and space.
Rather than leading to a fixed destination, the work remains in constant transformation—taking shape through process and perception. For the artist, the act of threading is both a quiet, everyday gesture and a way of reflecting on one’s own state of being.

On the 11th floor, The Third Day reinterprets the biblical moment not as myth, but as an ongoing state of becoming. The emergence of plant life becomes a way of observing and recording existence—an expression of continuous growth and the transformation of energy.
Threads extend across layers, beginning from subtle points and gradually unfolding into a sense of time and space. Rather than leading to a fixed end, the work remains in constant transformation, forming shapes that can be seen and imagined.
For the artist, the repeated act of threading is both a quiet, everyday practice and a way of reflecting on one’s own state of being.