Park Sang-hee released pieces portraying night scenes in the port cities of Asian countries such as those of Incheon, Hong Kong, and Yokohama. Governed by international standards, contemporary cities are occupied by similarly-shaped windows and buildings of steel structure. Their streets are occupied by signboards for globally-selling vehicles, electronic, and fashion brands. Nevertheless, the urban nightscapes in Park Sang-hee’s paintings meet the spectators with seemingly similar yet different faces. She roams the night streets with her camera to take images that capture her attention. She then applies layers of color sheets onto the canvas to realistically depict the night scenes of the city. Usually a painting is finished at this stage. Yet Park Sang-hee peels the surface of the canvas layer after layer with a sharp knife following geometrical patterns. Just as a skilled surgeon incises the skin of a patient lying upon an operating table, the artist slices away the integuments of the ‘landscapes’. Sheet cutting that is found in the works of the early 2000s is not just a process used for signboard production; it also borrows from the technique of cutting and affixing the screen tone which is used for patterns and creating the effects of chiaroscuro in cartoon publications.