If the first characteristic of HA's work is the coexistence of the musical composition and inner expression, the second one lies in the repetitive gestures and the space created by them. The artist states that 'when I concentrate and draw lines repeatedly, this work feels like meditation and practice.' This repetitive gestures shares a form of expression with the Monochrome painting (Dansaekhwa) practitioners' oneness of the ego with the external world, as it reflects positivity and negativity of the ego and the transcendence of reality. Furthermore, HA seems to be gradually moving from an initial gesture of erasing or hiding towards the acceptance of and comfort in oneself. This gap becomes the point distinguishing her work from existing color painters. It refers to the set of gaps between layers, the subtle differences, and the 'displacement' and 'intersection' of the color patterns when the transparency of paints is maximized and color patterns are superimposed on the canvas. (...)
To conclude, these color bands are sometimes a repetitive brush stroke, that is then obscured and erased, while other times are a living being itself. Yet each contains its own life, and relates and coordinates with other colors on the canvas in a musical juxtaposition that engenders a certain dynamic. On the other hans, the space created through repetition and the expansion of color bands produces the depth of the screen as a result of projecting time. The gaps gradually expand into an infinite space, and function as a passage to a type of communication. This is HA's unique color space, which is so distinct from that of other artists.

Kwon Hyein, Curator, Seoul Museum of Art