Viewed from a distance, Yoo Seungho's paintings give the impression of being traditional, flowing, oriental landscapes. Closer up, however, the fluidity is exposed as illusory, for there is not a single continuous line within the painting, and not a single brushstroke . Instead, the "painting" turns out to consist of discrete pixel-like stains which, on even closer inspection, reveal themselves as tiny Korean letters.

Unlike the ancient Chinese pictograms, the Korean phonetic alphabet introduces an element of sound into the quietude of the traditional scene. Yet this sound is more of an auditory equivalent of French Impressionism's shimmering surfaces than of Wassily Kandinsky's polyphonic musical rainbow of colors. Visually and audibly percussive, Yoo Seungho's paintings are scripted with short repetitive onomatopoeic phonemes that reverberate throughout the visual landscape both rhythmically and semantically. Products of an aged dubbed "the age of the post-visual", they address the space between iconic and symbolic representation in a playful, tongue-in-cheek manner, nodding towards contemporary art's obsession with reducing all phenomena to code.