​What is seen does not arrive all at once. Forms appear shaped, held, or redirected, carrying signs of having been touched, adjusted, or left over time. These conditions take shape gradually, settling through repetition until change becomes part of their presence rather than something separate from it. Oh works by staying with these conditions. Through drawing and printmaking, pressure is applied and transferred, then returned to again. Images are printed, revisited, and allowed to smudge and blur. Rather than fixing an image in place, repetition opens it up, making visible the quiet accumulation of time and passage.

​In 흔적 (Heunjeok); After the Bark, there is no attempt to resolve or repair. The work lingers where intervention has become ordinary, embedded within what is passed by every day. What remains is not a clear wound or stable meaning, but forms that continue under strain, carrying what has shaped them forward.

​Oh returns to these traces and their afterimages, inscribing them into the plate and releasing them onto paper.