Hong plays with minimalistic composition planes, presenting a clear-cut edge in the segregated spaces. One can interpret this purpose as a suppression of the white void between the bulky grey sides, or a new streak of opportunity laying out above a restraint past. Hong wants us to conform with the emotional aspect of absolving, as he incorporates imagery of fishes facing in a uniform direction, suggesting either movement in harmony or entangled lost within partitions. Larger calligraphic words transmit a stronger accent, a subtle distress that is fading away.
He merges Eastern tradition and Western techniques in his paintings, often putting together Chinese characters that have no specific meaning.