For the late Korean artist Suki Seokyeong Kang (1977–2025), art was a method of measuring how the individual inhabits the world. Spanning painting, sculpture, installation, video, and choreography, Kang's research-driven practice drew on a distinctly Korean artistic genealogy — from the Jeongganbo, a fifteenth-century grid-system of musical notation; to the hwamunseok, a reed mat used in Chunaengmu, a traditional one-person court dance; to jinkyeong sansuhwa, or "True-View" landscape painting. Across these references, 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 works give 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 — conceptual structures proposing a certain operational mode of time and narrative. Delicate silk thread is framed in wood, uniting traditional Korean painting materials with hard-edged structure, while layers of color in varied hues applied to the silk create subtle chromatic fields within the grid's compartments. For Kang, the grid was not a rigid constraint, but a flexible instrument for scoring narrative, organizing movement, and framing the void. The Jeong—step works function much like window frames themselves: even as they focus our gaze within the rectangular form, they dictate the limits of our vision, inviting us to look past those limits toward the view beyond.