Yang-ha examines how catastrophe and the everyday coexist through what she terms “unfake” fantasy.

The exhibition centres on pastel-toned paintings that initially appear inviting, even naïve. Some compositions open into landscapes the viewer feels they could step into, rendered in a whimsical palette that draws the eye forward. Explosions sit beside dusk skies, fountains and branches. Blasts lose their menace, resembling trees, clouds, cotton candy or droplets. Disaster becomes softened, almost ornamental.

Yet this lightness is tightly controlled. News fragments and constructed imagery coexist within box-like spaces. Each painting functions as a sealed compartment, an event suspended in time. Seen together, the works form a cabinet of simultaneous incidents, ordered and contained.

By aestheticising the blast, Yang-ha exposes how readily tragedy becomes image. Her visual language moves between irony and restraint, where cartoon-like motifs meet abstraction. Humour replaces spectacle, acting as both defence and critique.