Walking into the exhibition hall at KDI School, I was immediately drawn to the paintings that were displayed. The title displayed at the entrance-Beyond the Layers: Modern Lacquer Painting by Kim Mi Suk- felt like an invitation not only to observe, but to reflect. As both a student reporter and a viewer, I found myself stepping into an experience that was as introspective as it was artistic. 

Before even approaching the artworks, I paused to read about the artist. Kim Mi Suk is described as a contemporary artist who works with Ottchil, or natural lacquer, a traditional Korean material known for its durability and permanence. But what stood out to me was not just the material itself- it was the way she transforms it. Her work bridges the gap between traditional craft and modern fine art, turning something deeply rooted in Korean heritage into a global visual language. 

As the rest of the viewers and I moved through the exhibition, we began to understand what layers truly meant. It wasn't only about the physical layering of lacquer, but also about meaning, identity and time. The process behind each piece, creating pigments, applying countless layers, and polishing them to perfection, felt almost meditative. Knowing this made me look at the works differently. Each surface carried not just color and form, but patience, discipline, and intention. 

During the exhibition, I had the chance to listen to what some of the viewers were thinking about each piece. Alejandra Moreno (MDP 2026) and Maria Fernanda (MDP 2026) were captivated by one of the paintings and its complexity. To one of them “it was showing two people in the frame hugging each other” but to the other “it was more as two people merge together instead of holding each other.” This made me realize how diverse and subjective art is and the different messages people can interpret from the same painting. 

This interpretation of femininity felt particularly powerful. It made me reflect on how art can question long-standing narratives and offer new ways of seeing. Rather than rejecting tradition, Kim Mi Suk builds upon it, showing that tradition is not static, but something that evolves and adapts over time. 

Another idea that stayed is the concept of arts as a form of spiritual meditation. The description of her process — painstaking, repetitive, and deliberate — resonated with the calm atmosphere of the exhibition itself. There was something almost therapeutic about simply standing there, observing the works, and imagining the time and care behind each one. Viviana Santofimio (MDP 2026) student said: “ It reminded me that art is not always about immediate impact; sometimes, it is about slow appreciation.” 

By the time I left the exhibition, I realized that I had not just viewed a collection of artworks, I had experienced a dialogue between past and present, tradition and innovation, material and meaning. Kim Mi Suk’s work does not demand attention in an overwhelming way; instead, it invites you to look closer, to think deeper, and to find your own interpretation within its layers. 

Attending the exhibition as both a reporter and a viewer allowed me to appreciate it from two perspectives. On one hand, I was there to understand and communicate the artist’s vision. On the other hand, I was simply standing in front of art and trying to make sense of what the paintings made me feel. In the end, I think that is what made the experience so memorable, because beyond the layers of lacquer, there were also layers of reflection.