Hyangmok Baika's work continues the tradition of bold, somewhat crude, almost post-aesthetic contemporary painting. His work combines a flattened perspective - a raw, heavily worked surface - unpredictable color schemes and disrespectful positions - from headless bodies to erotica to plates with fruit or a bottle of champagne - the paintings look kind of time, acculturally, historically and paradoxically universally relative. Hailing from South Korea, Hyangmok specializes in surfing and weightlifting, but is also interested in analyzing dreams and the subtle unspoken complexity of human interaction. Through recontextualization, non-sequencing, deconstruction, and a great deal of black humor, Hyangmok's paintings would seem equally relevant in California once they appear to express a kind of laissez-faire.

The way Baik talks about his work does not seem appropriate, say in Haruki Murakami's novel: "It seems cloudy and gray, like a dream, but it is expressed very clearly. All the elements in my work are arranged through my fantasy into a single story.In the middle is the Person, he or she, me or a portrait of a modern man.Sometimes we can remember the characters in dreams, but mostly not.I try to express stories that no one remembers, only me, as dreams that I've never experienced it, and as mysteriously familiar moments that someone may have experienced before, in the past. "

Thanks to the use of well-known, albeit unusual speakers, the work offers a new perspective on the conversation of painting. Through a diverse visual arsenal of motifs, symbols and stylistic tendencies, the images are elevated to a new kind of complex, albeit reducing, semiotic language. Images, in addition to language, seem to come together through a kind of visual connectivity, where it seems to be visually separated from meaning and reduced to a series of images, colors, shapes and symbols that may (or may not) have a real reference and are left to the viewer to gave him another meaning.