As analogizing through the previous work, the work by the artist is flowing with urban sensitivity and pop sensibility. Maybe these two emotions go in accordance in terms of ingredient and texture. It is the brilliant contrast of the primary colors, various letters and symbols, and the abstract patterns. It may be the painting on the people with emptiness between the messages flowing through the city, dazzling lights and attractive advertisements. They are the properties that are relevant to the typical aspects of the city that can be categorized as so-called urban painting, and ideas that are pointing out the elements sensuously. Among these elements most of the elements are expressed in the further painting, especially the contrast of original colors and abstract patterns. These elements form the formal features of the artist’s latest work, and except for being conventionalized considerably compared to the previous work, the urban sensitivity is still acting as the dominant sentiment. It is considered that the sentiment and image of the city are being fragmented and restructured into the conventionalized city, abstract city, and a city that is fragmented into small pieces like a puzzle piece. It may look somewhat or greatly different from the outside, but it is considered to be largely playing the role of an embryo that is preparing for the latest work of the artist. 
 
    Interaction. It is the theme that the artist put on the work. Interaction is the concept of relation, and to form a relationship, there must be a premise between this and that. The entity and the other, city and the nature, past and present, memory and present realization, sensible existence and picturesque fact, these concepts of relation elements are harmonized organically in the artist’s work. The two sides of the concept of relation or the multiple sides are in the overlapped or multi-complex structure of being weaved in warp and weft threads, so the semantic entity is now revealed appropriately from the outside. Eventually, interpreting the artist’s work is disentangling these weaved warp and weft threads. They can sometimes be revealed on the painting, or concealed behind the painting in a potential form to create an unique pictorial atmosphere. There are no people inside the artist’s painting, and in the city, the entity and the other are all anonymized. Inside the materialized city, there are only entities that are lost inside the city, agitated entities, entities in agony, and entities that are scattered in air so far. Therefore, entity does exist potentially, and must be seen to be prerequisite constantly. The city is testified with the invisible eye inside the screen. 
    Eventually, the painting is a city shown in the invisible eye inside the screen, and if so, how does the artist see and feel the city through her eyes? What is the urban sentiment of the artist? In the artist’s painting, dual structure is emphasized, and when we look at the painting for the first time, only the abstract patterns come into our eyes, and the city is not shown. Is the painting restructuring the abstract patterns pictorially? Where is the city? But if we look closely, there is a silhouette between the abstract patterns. It is the city that is fragmented behind the abstract patterns. The image of the city fragmented into small patterns is restructured in its original state to be restored and urged to be abstracted inside the consciousness of the viewers. The city was probably painted first, and the abstract patterns were covered on top. The artist referred to the restructured image of the city for the painting. Mostly, the artists refer to the pictures that they take, but there are also cases of borrowing the image, like a personal image found in the album. Inside the canvas that the artist painted, there is an ordinary landscape of the streets that we can easily see around us, along with the materials that are relevant to the personal journey, in other words, the image that testifies the past and the present is painted like an archive of the city. Even though the image is an ordinary landscape of our everyday lives, but it is not limited to the personal history, but the images and landscapes are for obtaining universal sympathy. To be more drastic, all modern people are urbanites, so there is somewhat typical aspect to the landscape and life sentiments of their lives. That is why the artist painted her personal life, and also the lives of the modern people (actually the modern city) at the same time.  
    Thus, the urban image that the artist painted was based on the actual image, but it is actually the simplified form of the actual image, abstract of the object or subject into minimum silhouette form, and here, the painting is mostly in mono tone of single color. That is why the tendency of the complanation is emphasized, and sometimes the print image from the engraving is associated. It is probably the painting of the dull and neutral feeling (or rather cold-hearted) of urban sentiment. This is the foreground of the city and the sentiments are not revealed, and this is because of the abstract patterns that are covering the surface. The city that is revealed between the abstract patterns may not be possible to identify the true nature at a glace, but it is mostly shown to be mystified, read as abstract symbols, and sometimes as another part of the abstract patterns. 
    Then why did the artist put all the efforts to cover the urban image with abstract patterns? How should we interpret this dual structure (or rather antinomic attitude?)? Martin Heidegger describes the operating method of art as a struggle between concealment and non-concealment. Art is an outcome of interaction between showing and hiding. Then what is shown and hidden, and why does art show and hide? It is probably hiding the dull, neutral, unhandsome, cold-hearted, unstable and anxious urban sentiments, and it is hiding and showing at the same time, which is an implication. It is the art of narration and style of penmanship through implication. Like the image of the city that is fragmented and broken into pieces like a puzzle game in the painting, the artist reflects the indications of the urban people, and implies the symptoms of the modern people.  
    In addition, memory is mediated in this painting. Behind the blurred city, vague city, city that is concealed and not shown clearly, the city in which the true nature is fugacious, or rather behind the abstract city, there is a silhouette of blurred memories. The urban image (and urban sentiments) painted by the artist is the emotion or character that is relevant to the incomplete memory, memory that dramatize the true nature, memory that is restructured in the present, and sometimes a memory that wishes to be forgotten. It is the incomplete restoration of memory, and sometimes it is the physiology of memory distorted as desire (memory is desire) projected and painted in the urban sentiment. Thus, the artist’s painting shows different dual structure of inside and outside, abstract and form, and abstract pattern and urban image, but the urban image is sometimes summoned above the abstract patterns. The trust of the steel-frame looked up under the bridge, and the bridge or crane and tower crane are in the geometric structure to look like a part of another geometric structure of the abstract patterns. It is probably another type of the city discovered by the artist, and another presentation of the city that shows the urban sentiment.  
    In the urban sentiment of the artist, the geometric structure and form account for a significant part. Therefore, the abstract patterns covering the painting of the artist is not just seen as the formal logic by itself, but it is shown as reflecting and projecting the urban sentiment rising behind the painting, and the urban sentiment expanded to the surface. One thing unusual is that sheets (adhesive tape) are used for the abstract patterns. Generally, computer program is used to create a square, lattice structure and triangular abstract patterns, and the patterns are cut with a cutting machine. The cut patterns are attached to the canvas to be removed, and the removed section is filled with paints by using a knife. When the paints are hardened appropriately, the process of applying paint is repeated. In this process, the mark on pasting and removing the pattern is left in traces, and the side applied with paint is emphasized faintly in absurd form on the canvas. The flat canvas shown with thin painting of the urban image on the back and abstract patterns on top is emphasized or offset with picturesque properties.  
    Also, the video that recorded these series of work process, objet produced in that process, for example, pieces of the sheets that were pasted and removed from the canvas are used for the installation to expand the expression domain of the work. The urban sentiment, in other words, the both emotions are shown in formal experiments, and it is exceeding the painting to mediate the video and installation to expand the formal experiment to spatial installation work. When we relate this to the work of the artist in the theme of the city, seeing the urban sentiment as both emotions is also important and meaningful, because the city establishes an identity, and also act as a moment of intruding with the formation or establishment of the identify. Thus, the artist’s painting is a dual structure of the abstract patterns and fragmented urban image that are overlapped. Therefore, the abstract patterns may be the presentation of the self-consciousness that are introduced to establish the identity hidden inside the fragmented urban image, agitated entity, drifting entity, vague entity, and also to establish the entity with faint true nature. When we acknowledge that geometry traditionally symbolizes math, rationality and order, it may be the presentation of the artist’s consciousness introduced to construct the form of order similar to the self-consciousness.