Kim Hoduck has long visualized the spirit of 𝘨𝘪𝘶𝘯𝘴𝘢𝘦𝘯𝘨𝘥𝘰𝘯𝘨(氣韻生動, the principle of “vital resonance and dynamic vitality”) through the traditional medium of ink and brush on paper. Moving fluidly between classical 𝘴𝘢𝘨𝘺𝘦𝘰𝘯𝘨 landscapes (寫景山水, representational landscape painting) and 𝘫𝘪𝘯𝘨𝘺𝘦𝘰𝘯𝘨 landscapes (眞景山水, Korean “true-view” landscape painting based on real sites), he has developed a distinctive visual language that is widely regarded as expanding the boundaries of Korean ink painting. Unfolded across unbleached cotton cloth, his brushwork dismantles actual scenery and reassembles it into finely differentiated units of sensation, transmitting a profound sense of energy to the viewer. In particular, the vertical streams rendered on cotton fabric—whose surface repels rather than absorbs pigment—emerge at the point where the artist’s physicality meets the vital force of nature. These forms convey an intense immediacy and visual impact, as if piercing through the picture plane itself. As viewers follow the liberated strokes, they encounter a vibrating energy that fills the exhibition space, experiencing with their entire body the vitality that rises from the very origin of existence.