In Blooming Days I, II, III (2023), each painting features floral forms rendered with gestural brushstrokes, compressed space, and radiant tones. The flowers do not only mimic nature, they echo an internal state, fleeting joy, seasonal shifts, or moments of stillness caught in the rush of modern life. Yoo’s flowers bloom in the mind as much as on the canvas, caught between figuration and feeling, presence and recollection.

Within the broader context of Mother Nature in the Bardo, Yoo’s paintings echo a shared impulse among artists like Katz, Warhol, Sturtevant, and others, that distills the everyday into something sublime and reflective. As with Monet, Sisley, or Signac, the act of observation becomes radical. In an age of distraction and acceleration, these works insist on the value of stillness. They ask us to look again, and take care of it, as we never know what could happen tomorrow.