Kim Tschang-Yeul started his investment into this aquatic motif in 1972, this fascination for the delicacies of water molecules originated from his time spent in France after a period of studying in New York. He is amongst very few artists that stick to singular themes throughout their career span and this was a frequent tendency amongst Korean Avant-Garde artists, in particular from the early sixties including the likes of Ha Chong-Hyun and Park Seo-Bo. The artist's work is usually interpreted as a contrasting response to the war that prevails his country, as the pearly droplets became a portal into a state of healing.