People view nature through their own lens. They draw lines to demarcate their territory and plan for their own development. This was a theme that Park Hyung-Jin, who originally worked in the city, had been contemplating for a long time. As such, a few years ago, Park moved her studio outside of the city. Since then, she has focused more on the colors of nature, its subtle movements, and the way it changes slightly every day. The artist thus observes nature closely every day and records it in paintings.
In doing so, Park carefully examines and captures even the slightest change she feels in the form and atmosphere of nature, carefully transferring it, one by one, onto a grid-lined canvas. It is not simply a matter of copying the landscape; rather, the aim is to show how time within nature accumulates within space. This is manifested through colors imbued with her emotions and through various colored dots imprinted on the grid.
The artist’s landscapes sometimes portray the outside world, and sometimes turn inward to express her own sentiments as well. And like a narrator, Park quietly takes record of the passing of time. She believes that when an existence has accumulated in layers over a long period of time, only then do we come to know that existence a little better. Based on this understanding, the artist imagines the next story. In Hyung Jin Park’s work, nature is no longer a distant subject. Small dots of color, circles, and the marks left by insects on leaves may appear separate, but they are actually interconnected. Through these records, the artist tells us that we do not live alone in time, but rather live together, leaning on one another.

Humans treat nature. In doing so, we may feel a sense of superiority, or we may feel remorse.
By contrast, in the artist's gaze, nature is the object. Wind and waves, the heat of the sun, diverse forms of life, and the mechanisms of evolution are the agents. They operate by making use of human-made objects and pollutants as material. The artist observes how nature processes the artificial.
These processes are recorded in the form of specimens, drawings, photographs, video, text, and installations. Rather than defining or interpreting meaning, she remains an observer, accumulating nature's modes of operation and their results. Unlike humans who judge, desire, and seek justification, she captures a nature that, without intention or purpose, circulates even the artificial into the ecosystem.
Within Hanna Chang's work, the belief that humans stand outside nature begins to blur, and the viewer finds themselves standing in the midst of nature's indifferent workings.