As nature is preserved in its scholarly oriental painting method, the metropolitan and bridges are drafted in industrial materials of black plastic tape as Kim condense the past and the present into integrated fragments. Devised in a highly contemporary perspective with the bridge commanding the pictorial composition, Yuldo (Lot 1446) evolves as almost non-representational landscape with strong vertical and horizontal lines that dominate minute details of the cityscape. Kim constructs these bold lines with heightened awareness that these fundamental forms, thus the rigid tape itself and pure vertical lines could also characterize sense of movement and speed though the picture may be vacant of visual symbols of bustling cars and transportation.

Continuing to employ one point perspective and vanishing points, modern regions of Korea are recreated in traditional aesthetics with Kim's synthesis of topographical accuracy and oriental painting's fluidity in Evening Return; Dawn Fog; & Night Flight (Lot 1445). Here, the painterly aesthetics may assume the serene ochre tones and flatness of Korean ink paintings, but the depicted method is rather western as the perspective is clearly layered into foreground, middle, and background; The rocks and mountains are in deep washes of dark ink to indicate its defined and close proximity, whereas the middle is constructed in tight grids of tape, with fogs and mist fading the mountain and sky into the far distance with lightly washed inks. Kim expresses her idea in the form of an inspirational painting by eloquently balancing between east and west; ideal and reality; past and present to invite the viewer to travel through time in her creation, to observe the past afresh, grasp the present and look forward into the future, and to finally realize that the advancement of the modern world can coexist with the splendor of the past.