Artist Yujin KANG transforms familiar or striking real places into spaces imbued with infinity through processes of deconstruction and recombination, presenting a new three-dimensional landscape and offering us an original canvas. Additionally, she provides us with a different perspective on how we perceive and view our environment.

The paintings of artist Yujin KANG are based on images of surrounding spaces that have left a strong impression on her. In the past, she was attracted to and overwhelmed by the spectacular spaces of the city, often using them as subjects for her paintings. She frequently depicted spaces such as swimming pools, airports, high-rise buildings in urban areas, avenues, galleries, and museums. These spaces share the common characteristic of being artificial environments, stripped of natural elements and endowed with imposed order. Yujin KANG positively embraced these artificial spaces and actively utilized them in her work. Within these massive, capital-intensive artificial environments, her presence faded away, leaving only a sense of emptiness. She expressed this desolate landscape by pouring, splattering, and applying paint with strong brushstrokes to add expressive elements.
However, as she frequently moved her residence, the surrounding environment changed, and naturally, so did the subjects of her paintings. She began to capture the landscapes of new travel destinations and everyday experiences, starting to paint natural elements such as mountains, trees, plants, and street trees. Although artificial and natural subjects are polar opposites, they both draw the artist's attention and instill in her a solemn and passive attitude within their majestic scenery. Yujin KANG aimed to reveal the unique properties that can only be experienced through the medium of painting by capturing various scenes and recombining them to create new landscapes. The external landscape is restructured on the canvas into a new scene through color, form, composition, texture, and the emphasis on the materiality of the paint. While maintaining the figurative nature of the subject, she emphasized the materiality of the paint to simultaneously reveal tension and balance between the two contrasting elements. She hoped that her paintings would be situated on that boundary without leaning too far to either side.