If people know what they're good at, most will likely put tremendous effort into further developing that skill. This could be for social recognition or simply to fulfill a personal sense of achievement. However, there comes a time when one realizes that something is going wrong. Despite all efforts to resolve the issue, it often doesn't easily get better. This phenomenon is what we call a 'slump'. Although it's a phenomenon often associated with those in the arts, if we interpret it more broadly, it's something almost everyone experiences at some point, regardless of their field. The root cause of this issue, upon close examination, is often found to be a neglect of the most basic aspects. In the process of studying and deepening their skills, people tend to insist on a linear direction of 'progress', inadvertently leading to a loss of flexibility, and end up in a situation where they're unable to perform to their fullest potential, like a product missing a crucial screw. Returning to the basics and reprioritizing what was once taken for granted can gradually reveal the contours for the next stage of development. Perhaps this continuous cycle, independent of the era's trends, is the best way to 'survive' in one's field. This pattern is very similar to the working method of Kim Ji-hoon. Despite the risk of his theme, 'survival', being overly generalized, he continuously expresses it through a series of paintings grounded in pictorial expression. "Even if surrounded by countless uncertainties in everyday life, this too is a part of today." "The fact that we live an unpredictable, unguaranteed day is proof that we are living right." In this series, the focus is more on the flow of events rather than on space. Kim captures dynamic situations independently on a single canvas, and his method of filtering out the unnecessary based on his viewpoint results in a dichotomous screen composition of the subject and its flat surrounding background. This emphasizes the sensation conveyed by the paint applied on the surface, encapsulating his hope for his art to be 'seen' rather than 'read'.