Jonghwan Lee attempts to extract the vitality of painting from the illusion of paintings medium's physical relationship. For this purpose, he frequently combines pictures from his prior works with new elements. Instead of being recognised for what the image itself represents, they are recognised as a material for paintings. Through the interaction between image and medium, vision and reality, the artist evokes the painting with a subjective vital eye. In addition, while he dissects, penetrates, deconstructs, examines the relationship between pictures produced in paintings and mediums, and investigates the 'vitality of painting.' The process begins with the hypothesis and repeats as 'production-observation-confirmation-hypothesize-resetting'. There are no such things as an independent project; rather, they are interconnected, moving forward and continuously reflecting.

Artist Jonghwan Lee aspires to impart the subjective vitality of painting through the interdependence of image and medium, as well as perception and reality. The “Venus” begins with the concept of the ‘eye of painting’, which is based on the illusion and reality of painting, and the perceptual capacity to interact with both images and materials. In experiments, he explores the difference between the image and what was drawn in the preceding stage and inquiries about the vitality of painting. This procedure erases the significance of the cut or drawn image, allowing the audience to observe life through the eyes of the painting. With these endeavours, the artist gives the audience a comprehensive perspective on the possibility of vitality and continuity in painting. 

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