Kim Jipyeong critically interprets the traditional perspective and way of seeing embedded in the concept and techniques of dongyanghwa (East Asian painting). Grounded in extensive research spanning ancient paintings, folklore, and mythological narratives, her practice explores and integrates cultural elements that exist outside the boundaries of mainstream art history-such as shamanistic paintings, Buddhist paintings, folk art, talismans, traditional mounting techniques, etc.

Viewing institutionalized tradition as an inherent part of modernity, Kim seeks to reconsider the artistic expressions and imaginations that have been historically excluded-outsider art, untamed thoughts, and the mythical imagination. The 'intentional anachronism' in his work evokes what contemporary discourse has overlooked or omitted, paradoxically prompting questions about the here and now.

Recently, she has been focusing on the socio-cultural significance of Janghwang (East Asian mounting formats such as folding screens, hanging scrolls, albums, etc.), incorporating her interests in the structure of gaze, the female body, and the ways in which "tradition" is consumed into her diverse body of work.

Kim has been critically interpreting the traditional worldview and ways of seeing embedded in the concept and techniques of 'Oriental painting'. Based on comprehensive research and studies ranging from ancient paintings, folklore, and mythological narratives, Kim applies her work to other aspects of culture that exist strictly outside the realm of mainstream art history, such as shamanistic paintings, fire paintings, folk tales, amulets, and marking methods. The artist believes that recognized traditions have already become part of modernity, and proposes to rethink the imagination of art, wild thinking, and mythology that traditions have excluded themselves from. The "intentional anachronism" in his work reminds us of what our contemporaries have overlooked or left out, and paradoxically makes us question the here and now. Recently, he has been focusing on the socio-cultural significance of the East Asian visual medium of folding screen (裝潢: folding screen, scrolls, flower book, etc.), and has been working on various works that combine his interests in the structure of the gaze, the female body, and the consumption of 'tradition'.