The artist’s practice begins with the recording and reconstruction of sounds that emerge between the city and nature. He collects soundscapes from Seoul’s evolving urban environments, such as the Han River, Nanji Island, and Euljiro, as well as from the DMZ and border regions. To him, these sites are spaces where development and regeneration coexist with disconnection and tension. Through the sounds and images produced in these contexts, the artist thus reveals otherwise invisible layers of the environment.
Urban regeneration areas, likewise, are not merely the outcomes of change for the artist; he documents them as soundscapes shaped by the accumulation of time, environment, and human traces.
His recent work expands this exploration into ecological environments. Beyond observing sounds generated within the forests and natural environments of Australia, the artist also investigates the rock formations in New Zealand’s South Island that are commonly known as the Ring of Fire and located at the edge of the circum-Pacific seismic belt.
Furthermore, beginning with research on the Wallace Line region, including Bali and Lombok, the artist expands his practice to encompass the soundscapes of religion and culture shaped within this geographically bounded and volcanically active environment.
In this way, his artistry/art transcends beyond the documentation of specific sites as he traces sounds that arise at the intersection of geological conditions, ecology, and human life. Sound is therefore presented not merely as an auditory object, but as a structure in which environment, temporality, and modes of existence are layered and interwoven.

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.