Sejin Kwon painted using chiaroscuro methods as well as gradations(濃淡) between thick and thin. His use of this contrasting technique is clear in the dispersing column of glint down the top-center of his work. Like a binary code of on-off and yes-no, the areas painted and left blank becomes an area of material contrast. The illusion of trickling glint of light is presented by the contrasted shades of ink. Kwon had consciously avoided the ink-and-wash style of sumukhwa (水墨畵). More specifically, he wanted to keep away from the history and tradition of style associated with the style. He painted from a concrete photograph, while the ink-and-wash sumukhwa was frequently the substrate for an elusive concept. Sumukhwa drawn on paper must be completed as a whole before the ink dries out. The deft brush must guide the propagation of the water and ink, to strike balance and wholeness before the ink dries. This temporal, fleeting character of working with ink-and-wash made it conceptually appropriate for painting the mountains and the trees as seen in one's mind. Kwon departed from the southern-school literati painting's (南宗文人畵) fixation on the ink-and-wash style, and the pyeongdam ideology's (平淡: even and mild, lucid) adulation of the ink. Instead, he explored the ink-and-wash as a medium, and in this exhibition is his sharing of what he found in that exploration.