Pyeongan-do is the hometown of the artist’s mother’s family, but since it is a forbidden place for South Koreans today, depicting it as a beautiful landscape is a violation of the established dominant image of North Korea. Such violations do not stop at the level of political recollection that if such a picture had been drawn in the 70s and 80s, they would have been arrested immediately for beautifying North Korea. On top of the ideological violation of describing the northern land as a utopia, the violation of modernity is overlapped by intentionally using a technique that goes against the times.