He used the objects to show how the things that don’t seem to have much value at first glance could be much more upon a closer look. While thinking about the concept, he saw the kiwa left in the temple. Koreans tend to write their wishes on Kiwa. But that Kiwa is abandoned here and there. It was the moment when the motive was chosen.

In his artistic endeavor, I intentionally emphasized the significance of shadows over the light itself. By carefully layering sheets of Mosi, a traditional Korean fabric, in the shape of Kiwa, he sought to capture the intricate play of light and shadow. Each layer of fabric interacts with the light, creating a subtle shadow that emphasizes the inherent interdependence between light and shadows. This artistic exploration serves as a reminder that light can only exist because shadows exist, and that shadows hold their own beauty and significance.

The limited edition ELOREA x Bumki Song Kiwa incense holder is a product stemming from his contemplation on the concept of "Residue." Inspired by abandoned Kiwa (Korean roof tile) found in Korean temples, this unique incense tray focuses on the natural progression of time and its residual effects. The surface pattern resembles stacked Kiwa, with grooves designed to collect ashes after each use. The accumulation of burnt ashes transforms into an art form, challenging perceptions about the value of 'residue' and reflecting on the passage of time.

The work reflects the various challenges I encounter in relationships, including communication gaps, the frustration of neglect, and my own struggles with compliance. Standards differ across individuals and even within myself, and these are elements beyond one's control. It's akin to holding a handful of sand, where the tighter one grips, the more it slips through the fingers. While the path of acceptance seems simple, resisting the urge to tighten one's grip becomes a personal challenge. This continuous cycle of making mistakes, attempting to rectify them, and inevitably falling into the trap of frustration from attempting control is subtly echoed in the canvas. The ambivalent emotions between self-doubt and self-protection are also referenced. This ongoing struggle between the dichotomy of releasing and restraining is captured within the canvas through recurring forms, the contrasts of thick paint layers and delicately trembling drawn lines, and the use of warm, muted colors through overlapping paint and stitching.

Seohui Chi is a Los Angeles-based illustrator, creating culturally-driven digital drawings with an emphasis in softer palettes and inspiration from watercolor. Chi’s signature style is drawn from her desire to preserve and capture aspects of Korean culture that she deems beautiful and distinctive. Often she seeks to incorporate traditional Korean elements into everyday, noticeable objects and landscapes. Her “SONYEO” series (translating to “girl” in Korean) explores the theme of youth and innocence; placing female figures adorned in modernized hanbok (traditional Korean clothing) in a contemporary setting. Her recent “HWAWON” series (translating to “flower garden” in Korean) is an expression of monthly flowers in the context of traditional Korean objects.