For the late Korean artist Suki Seokyeong Kang (1977–2025), the Jeong series distills her long-standing inquiry into how the individual inhabits space and time. Rooted in a research-driven practice that draws on Korean artistic traditions, particularly Jeongganbo, a fifteenth-century system of musical notation in which each square marks a unit of time and pitch, the Jeong series translate rhythm and duration into a quiet, architectural form. Kang returned again and again to the Korean concept of jari — denoting "place," "seat," or "territory" — to explore the space afforded to the individual within society. The wall-mounted Jeong—step series gives this exploration an architectural form, drawing on the logic of the Jeongganbo, in which each square of the character jeong (井) marks a unit of time and pitch. Kang viewed these squares as frames that hold both sound and movement.

At the core of this body of work is baejeop, the traditional Korean process of layering and mounting together wetted silk and hanji (mulberry paper). Built through the repeated adhesion and drying of delicate materials, each work unfolds slowly, embedding time into its very structure. Kang understood each layer as a temporal unit: subtle shifts in tone and texture that mirror the passing of seasons. Across her practice, temporality is a central concern. Kang observed time as cyclical, accumulative, and lived. Created in the final period of her life, the Jeong works carry this awareness with particular intensity. The act of layering becomes a meditation on time, where each surface carefully preserves a passing moment or season.