Well come to the Helltasia

The world you see, it's a different world to me! I walk the streets of the city. While listening to music through earphones, he walks around floating amon g skyscrapers. As I walk for such a long time, I feel the visible world is as vague as it is, and I feel as if I have goosebu mps of horror emotions. Now, it's not a visible world, but an imaginary world I feel (the world of gap). O n the ground, a gentleman rides a boat and oars softly, and a fairy giggles on top of a city building. And the goblins, the semi-human half-life, and the Divine Lantern are rich. For me, reality and imagination be come a space. Then, the imaginary world disappears due to someone's appearance. This imaginary world is remembered in the head, stored in the mind, and groped memory and emotion f rom the studio and expressed in painting work. I feel the emotion of unknown goosebumps and horror fantasies that can be felt in any space. And where does the fantasy come from? A city of bright daylight shows nothing hidden but clearly as it is. But a dark night city makes you feel an other world under colorful lights. The city of night, through music as a medium, is to me a world of niche between reality and reality. Motivating to the work are the images of modern urban space and the daydream felt while walking thro ugh it. The city's image, which the writer brings back to the studio through the music he hears during th e walk, travels across reality and fantasy, across present and past, ideas and abstracts, across the real worl d and virtual worlds. Therefore, rather than having a clear object in the work, the colors that passed thro ugh the spectrum of Lee Kyung-hwa and the urban landscape as a visualized energy are reflected. They want to make the viewer or other person feel the visual expression of the mysterious, horrifying fan tasy.