Nature constantly repeats its creation and destruction. The various images out of these cycles have been providing artists with subjects of their creative endeavors and been generous sources of artistic expression and inspiration. Among the varieties in landscapes, Ewon has been getting interested and even fallen attached in annuals, those plants that live only for a year and discovering aesthetic values inherent in them. She takes the pure forms of life blooming in the fields as the objects with their infinite possibilities of expression. The last moments of struggle in the dying annuals therefore should become a medium to have awaken her to the vitality of the mother nature and the truth of life. Although the life cycle of these annuals is to be comparably way shorter than that of our human beings, it would rather be reflective of a lifetime of ours as condensed into that of theirs. This way, they could exist in the different dimension of far slower time than the one human merely witnesses while they move dynamically and survive in their own time. Like this way, art begins from observing everyday ordinary objects
 

All lives exist while accumulating time, throughout which they should run the process of birth, life and death. Those plants in Ewon’s works symbolize this essence of life as reflective of human lives. Observing various plants, you may identify the wondrous force veiled in nature that you might have just passed by and missed. Even though all the plants as creature are the utmost delicate and weak, they persist in their vitality and stand for the breath of the earth. She seeks out for the beauty of life particularly unfolded in the annual plants just as they sprout, grow, bloom, bear fruits and finally wither in the finite time of a year. Exposing the finite nature of life, her works provides you with a moment of standing away from the society of solitude where you belong and with a changed recognition about what are the true meaning and the value of existing. 
 

What’s ironical has it that her catches of those ‘finale’ moments in withering annuals appears to be lively dances in her works. From those moments of withering and dispersing, she would rather abstract the positive aspects than the negative ones, by elevating it into an art while breathing new forms of life to them. In order to express this utter movement of a life, while taking back the unique colors of the plants but only with their black silhouettes, she simplifies the shapes up to the hilt, clearly to convey their persistent vitality with no frill at all. We shall feel like reading a poem at the early stage of her works throughout her exquisite observations of the objects followed by her expression method of drawing-like lines. As the background, mother-of-pearl gives out its own light all by itself and gives the prominence to the existence of the objects. Mother-of-pearl has in many different ways appeared in the modern art. You can get feels of sensuous extraordinary matière on the surface on which a myriad of pieces of mother-of-pearl are laid. The structural repetition and accumulation that the array of mother-of-pearl creates deepen the feeling of natural light and emanate the strong energy of life. The inexplicable colors of mother-of-pearl that change according to the angles of viewers add liveliness to her works and catch the viewer’s eyes even more. Black and white have the contrasting forces against each other but they are also in the relationship of mutual complements winning the completeness.
 

In the same manner, the black color put a contrast to the subdued light that mother-of-pearl emits but they are in harmony with each other like the yin and yang of the cosmos. The circulation of creation and destruction, light and darkness presents itself as yin and yang that must need each other to exist in nature. Those images in her works not only reveal life but imply its entailed death that lies in the inner side of life. To her, a painting board is a space where life breathes and dissipates ceaselessly as well as a place where opposite values like life and death, subject and object, part and whole coexist and harmonize.
 

Nature itself makes us pounding in all of our senses just by taking a look at it. We humans find our true selves in nature and throw questions and obtain answers about the root and the way of being. Ewon projects human life onto plants and seeks out for the essential values of life from the cycle of birth and death. The annuals seem to stand still except when they tremble by the wind, however, the black silhouettes against the flowery mother-of-pearl provoke you with the profound dynamics of nature in its creation and destruction. The contrasting forces that black and white make naturally create tensions and demonstrate mutual supplementation and coexistence. Even though they are such trivial lives as withering in the fields, should you discover the truth of life through art, they become beautiful things. Throughout this exhibition, she, with her genuine awakenings obtained from nature, sincerely would like to build a bond of comprehension with visitors and propose a new direction based on her studies on the formative factors out of the variety of expressive techniques and materials more than artistic attempts of how to represent some plants.