Brushstrokes of ink ripple across the screen at the slightest touch.
In Lee Yeseung’s work, painting is no longer something to simply observe—it is something to move through, to co-create, to feel with the body.

Rooted in traditional East Asian landscape painting, Lee employs digital technologies—augmented reality, interactive media, and VR—as her new brush. Through these tools, she breathes movement into stillness, transforming classical landscapes into living, responsive environments.

When viewers interact with the screen—through gesture or touch—ink lines spread like waves, and geometric forms drift and pulse across the composition.
The result is not just an artwork to be viewed, but a participatory experience where each person becomes a co-author of their own digital ink painting.

Lee’s digital landscapes carry the philosophical sensibility of traditional sumukhwa: the value of negative space, the fluidity of form, and the contemplative rhythm of brush and breath. Yet here, the image is no longer fixed—it becomes a scene of time unfolding, alive with presence.

In this new work for the Jeonnam International Sumuk Biennale, Lee Yeseung offers a powerful proposition: that traditional ink painting is not of the past, but of the future—that it can evolve, adapt, and resonate through the languages of contemporary technology and touch.

In front of her work, you are no longer a distant viewer.
You breathe with the image,
standing at the threshold where tradition and innovation, reality and illusion converge.

With quiet clarity, Lee Yeseung invites us to imagine what the future of East Asian painting might look—and feel—like.