The exhibition design of Sehwa: A Record of Encounters does not aim to reproduce minhwa as a visual image for display; rather, it begins by interpreting the way tradition operates and translating it into spatial structure. The sixteen participating artists engage minhwa as a shared medium, presenting works that bridge tradition and the contemporary through diverse materials, including holograms and traditional pigments. The exhibition design adopts the same attitude, extending the thread-drawing technique of minhwa as a principle of spatial organization and weaving works and space into a single, continuous structure.

This structural attitude is articulated through a spatial deployment of the thread-drawing technique found in minhwa. Rather than filling surfaces or depicting form, thread drawing organizes the entire pictorial field through lines that are continuously extended. Maintained under consistent tension, these lines bind form and void, top and bottom, into a continuous relationship, transforming image into structure. The exhibition does not confine this logic to the plane, but expands it into space.

The material used for this translation is transparent PVC piping commonly employed in Korean ondol floor-heating systems. Typically concealed beneath the floor to transmit heat, these pipes form a structure that operates continuously while remaining unseen in everyday life. By exposing this material as a linear element, the exhibition brings an invisible system to the foreground of the spatial experience.

Flexibly connected, the transparent pipes physically manifest the continuity and tension inherent in the thread drawing of minhwa. The structure is not fixed, but variable—at times unfolding as a canopy above the works, at times as walls from which works are suspended, and at times as floors tracing the paths of movement.

Through this unfolding, the exhibition space functions not as a closed form but as a structural field woven through continuity and connection. Visitors encounter the works not from a frontal position, but by moving within the structure, experiencing layers of tradition through the flow and tension generated by lines. Tradition here is not a form of the past, but something that remains present through repeated interpretation and transference. Sehwa: A Record of Encounters renders this process of continuity spatially visible.